Class 

Book _A_. 

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COFWIGHT DEPOSIT. 



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OUR MAGIC 



OUR MAGIC 



THE ART IN MAGIC 
THE THEORY OF MAGIC 
THE PRACTICE OF MAGIC 

BY 

NEVIL MASKELYNE 

AND 

DAVID DEVANT 



WITH 86 FIGURES MAINLY PHOTOGRAPHIC REPRODUCTIONS OF 
PREPARATION AND MANIPULATION 




NEW YORK 

EP- BUTTON ^ COMPANY 

3X West Twenty-Third Street 



Copyright, I911 
By E. p. Dutton & Company 



PREFACE 



In writing this book we have fulfilled a purpose that 
has long been held in view, viz.: — the production of 
a work which may present our art in a truer light 
than is ordinarily shed upon it by text-books and 
treatises. We have long been impressed by the fact 
that, unlike other technical subjects, magic has re- 
ceived scarcely any attention upon its theoretical 
side; but has been allowed to drift along the course 
of progress, as best it may, unaided by the advan- 
tages that order and system could bestow. In any 
other calling, technical or artistic, the groundwork 
of the subject, invariably and as a matter of course, 
receives due attention on the part of those who follow 
that calling. Those who teach and those who study 
alike, are well aware that, unless the fundamental 
principles, the theory, of their subject be properly 
understood, there can be no chance of gaining any 
real knowledge, such as an expert must possess. 
Then, since magic combines both art and science, 
the folly that it can be studied apart from its theory, 
its very constitution, is too obvious to require com- 
ment. Therefore, in this book, we have attempted 
the task of setting before the reader a plain and 
straightforward statement of the facts, principles 
and reasoning essential to a proper understanding of 
our subject, so far as our ability will allow. 



vi 



PREFACE 



We do not, for a moment, suggest that what we 
have written herein represents the last word to be 
said concerning magic. On the contrary, we are 
well aware that our book is but the commencement 
of a new departure which, we hope, may lead to the 
full elucidation of our subject, in every particular. 
The ramifications and extensions of knowledge con- 
nected with magic are so vast in their scope that no 
single treatise can possibly include all that a skilled 
magician ought to know. Consequently, we can 
claim no more than the production of a book which, 
in our opinion, serves to indicate, rather than to ex- 
haust, the manifold topics associated with the art, 
science and practice of magic. 

One notable feature of this work, which should, 
we believe, serve to prove the faith that is in us, 
consists in our unhesitating disclosure of original 
devices, and the modus operandi of original experi- 
ments in magic. So far from feeling any reluctance 
towards letting the general public into the secrets of 
our procedure, we are most anxious to educate the 
public in such matters, in order that a proper under- 
standing of our art may be disseminated among its 
votaries and patrons. The point is this. Tricks 
and dodges are of comparatively small importance 
in the art of magic. At the utmost, they display in- 
ventive ability, but nothing more. The effect — and 
the effect alone — produced by the use of such inven- 
tions, is the consideration of real importance. 

For proof of this, we need only point out one well 
known fact, viz. : — that the very best audience a 
skilled magician can have is one composed entirely 



PREFACE 



vii 



of magicians. The reason for this should be self- 
evident. An audience of magical experts is bound 
to see the performer's feats in a proper light. Such 
an audience will very seldom be perplexed by what 
is exhibited, and v/ill never attach great importance 
to ''how it is done." Every member of such an audi- 
ence will have his mind engrossed, almost exclu- 
sively, in noting the art with which the performer 
uses devices, known or unknown, to produce an in- 
tended effect. If his art be meritorious, the expert 
spectators will appreciate the performance highly, 
no matter how old, how new, how ingenious or how 
simple may be the technical devices employed. 

It will be difficult, we fear, to bring the general 
public to that standpoint. The average man is so 
firmly impressed with the notion that magic consists 
merely in puzzles ofifered for solution, challenges 
to the spectator's acuteness, that many years must 
elapse before that erroneous idea can be dispelled. 
Some day, however, we hope that even the man in 
the street will have learned the fact that so-called 
^^secrets" are, to the magician, little more than are, to 
the actor, the wigs, grease-paints and other "make- 
ups" with which he prepares himself for appearance 
before the public. The art of the magician, like that 
of the actor, depends upon matters far higher than 
mere appliances and processes. Just as the actor, in 
the exercise of his art, employs certain means for 
making himself resemble the character he repre- 
sents, so the magician employs devices essential to 
the guise in which he appears. As it happens, the 
magician's aids in this respect are, necessarily, more 



viii 



PREFACE 



recondite than those of the actor. Owing to this 
fact, there has arisen the mistaken impression that 
the magician's art begins and ends in the devices he 
employs. Whereas, in fact, those devices are merely 
his working tools. His art does not consist in the 
things he uses, nor in the trade secrets and technical 
processes he has at command, but in the employment 
of those facilities with adequate efficiency. It con- 
sists in what he does with the things he uses, not in 
those things themselves. In the hands of a skilled 
magician, a magical experiment becomes something 
vastly different from what it would be if conducted 
by a novice. That needs no argument whatever. 
And it is just in that very difference that the art of 
magic is comprised. Those who hold the view that 
the tools of magic are synonymous with the art of 
magic do great injustice to the magician and to his 
art, alike. 

Undoubtedly, we must admit that great progress 
in the art has been made during recent years. Both 
in artistry and in social standing the modern ma- 
gician stands upon a place far higher than that 
occupied by his predecessors of two or three gen- 
erations ago. The average magician of to-day has 
been educated at a public school and is, socially, 
qualified to rank with members of any other pro- 
fession. He knows some Latin and, perhaps, a 
trifle of Greek; and, on occasion, can speak French 
without giving his audience the cold shivers. So far 
as they go, these facts are eminently satisfactory, but 
more is requisite for the equipment of an artist in 
magic. The young gentlemen who constitute the 



PREFACE 



ix 



vast bulk of rising magicians have not yet shaken 
themselves free from the trammels with which their 
less favoured predecessors were hampered. They 
have not, as a rule, learned to understand the art of 
magic as it really is, nor to recognise the nature of 
its constitution. In so far as they are true artists 
depends upon their instinctive leaning towards re- 
finement and appropriate procedure. They go the 
right way to work because they feel it to be the right 
— not because they know it to be right. As to ex- 
plaining why any particular course of action is right, 
that is beyond the powers of almost any among them. 
This is where the rising generation lacks understand- 
ing, the simple reason being a lack of proper train- 
ing in the theory and constitution of the art they 
profess. 

We hope this present book may serve, at least, to 
provide a clue, by which those who blindly grope 
in the ancient labyrinth which they falsely regard 
as ''The Art of Magic," may be led to a standpoint 
from which clearer views can be gained. 

N. M. 
D. D. 



CONTENTS 



PART I 
THE ART IN MAGIC 

BY 

Nevil Maskelyne 

CHAPTER PAGE 

I The Real Secrets of Magic . = , . . i 

II The Three Degrees in Art ...... 5 

III Unity . . 29 

IV* Consistency . 43 

V Justification 55 

VI Surprise and Repetition . 65 

VII Effects of Transition 77 

VIII Climax 85 

IX Presentation loi 

X Rehearsal . . iii 

XI Speed in Presentation 129 

XII Patter 134 

XIII Stage Manner and Personality . . . .150 

XIV Mental Attitude 157 

XV The Importance of Artistic Principles . .162 



CONTENTS 



PART II 
THE THEORY OF MAGIC 

BY 

Nevil Maskelyne 

CHAPTER PAGE 

I Terminology . . .171 

II General Analysis . „ .181 

III Misdirection 188 

IV Styles of Magic ......... 200 

V Manipulative Principles 208 

VI Principles of Mental Magic 216 

VII Mechanical Principles 220 

VIII Optical Principles ... . . . . . . . 226 

IX Acoustic Principles 229 

X Electrical Principles 232 

XI Chemical and Molecular Principles . . . 237 

XII Magical Inventions 244 

PART III 
THE PRACTICE OF MAGIC 

BY 

David Devant 

chapter page 
I With Playing Cards. The Triangle . . . 273 

Bibliographical Index of Card Tricks . . 289 

II With Billiard Balls. Multiplication . . 309 

III With Figures. Simple Addition .... 338 



CONTENTS 

CHAPTER PAGE 

IV With a Borrowed Watch. The Forgotten 

Guest 350 

V With a Borrowed Handkerchief. A Lesson 

IN Magic 369 

VI With Bells. Homing Bells 393 

VII With Flags. The National Colours . . . 405 
VIII With Liquids. The Three Vases . . . .414 
IX With a Rabbit, a Ball and Two Hats. The 

Silver Ball 423 

X With Fish and Letters. The Educated Fish 440 
XI With Doves and Rats. The Point of View . 453 
XII With a Canary and a Target. " The 

Phcenix " 470 



PART I 
THE ART IN MAGIC 



OUR MAGIC 



CHAPTER I 

THE REAL SECRETS OF MAGIC 

Beyond doubt, the attractiveness of magic is largely 
due to its "secrets." Not only to the general public, 
but also to the professional magician, the secrets of 
magic represent the most fascinating branch of the 
subject. They are, among all classes of society, 
a popular topic for conversation. They have given 
birth to whole libraries of literature and are re- 
sponsible for a mass of chuckleheaded opinions — 
greater in number and variety, perhaps, than have 
ever resulted from the discussion of any other subject' 
under the sun. 

Unfortunately, however, notwithstanding the con- 
stant attention devoted to this theme, the real secrets 
of the magic art have received but scant considera- 
tion. Their true nature — indeed, their very exist- 
ence — may be said to have been almost entirely 
disregarded by the public, and too frequently over- 
looked by professional magicians. The prevalent 
idea is that the secrets of magic consist in tricks and 
dodges, connected with the manipulations and the ap- 
paratus employed in the art. To most people, the 

I 



2 



OUR MAGIC 



''secret'' of any magical presentation means simply 
"how it is done." It is assumed that, when once the 
devices used in producing a magical effect have been 
discovered, the secret of that effect is revealed. The 
trick has been found out and, therefore, nothing re- 
mains to be learned. A more erroneous view has 
never been conceived. Not only so, it is a view that 
cannot be justified on any rational ground, as we pro- 
pose to show in the following pages. 

The real secrets of magic are not merely trade 
secrets. They are not workshop devices, connected 
with manipulation and mechanism. They are not 
ingenious dodges which, when learned, enable their 
possessor to accomplish all that a skilled magician 
can do. They are not tricks and puzzles devised 
for the bewilderment of the public. Far from it. 
They are of an order far higher than elementary 
matters of that description, and far removed from 
the popular conception of their nature. Our present 
object is to disclose these secrets — to explain the real 
basis of the magic art, and the principles upon which 
magical effects actually depend. In short, we intend 
to show, not only the tricks which magicians use, but 
also the essential factors which underlie the whole 
art and practice of magic. It will be found that, 
so far from being bound up in jugglery and para- 
phernalia, the true art in magic is purely intellectual 
in character, and comprises an infinitely varied range 
of interest. 

It is essential in the first place that a just concep- 
tion be formed of the scope and intention of this 
present section of our work. "The Art in Magic" 



THE REAL SECRETS OF MAGIC 3 



is a very different thing from ''The Art of Magic." 
The latter term may embrace an immense number of 
diverse considerations. The former relates to one 
side only of Magic; a side which has never received 
the attention it deserves. Our immediate aim is the 
elucidation of those fundamental principles w^hich, 
being reduced to practice, justify the claim of Magic 
to be classed among the Arts — not, of course, among 
the mechanical arts, but among the Fine Arts — the 
Arts v^ith a big A. We v^ish to demonstrate the 
causes vs^hich, irrespective of technical skill and 
knowledge, determine the relative success or failure 
of individual aspirants to fame in pursuit of our art. 
It is evident that such matters are well worthy of 
consideration by every magician — even one of the 
most practical, or most commercial type. Indeed, 
it may be said, with some show of reason, that the 
man who cannot explain the principles involved in 
such questions as these, cannot claim to understand 
the inwardness of the magic art. It is that inward- 
ness which governs a performer's ultimate success 
or failure. Therefore, it must be well to investi- 
gate the actual agencies which dominate the success- 
ful practice of magic. This we will now attempt, 
to the best of our ability. In doing so, however, 
we must direct the reader's attention to things which 
do not lie upon the surface of our subject. We must 
deal with points which are not exactly obvious to the 
man who, for the first time, looks into a book dealing 
with magic. We must, for the moment, lose sight 
of such details as "sleights" and ''fakes" and confine 
our attention to broad principles which, superfi- 



4 



OUR MAGIC 



cially, may seem to be mere abstractions, of no espe- 
cial importance to practical men. But, as we pro- 
ceed, we hope to show by means of practical 
illustrations the really important nature of the mat- 
ters we are discussing. 

We presume that everyone will agree to the recog- 
nition of magic as an art. As a matter of fact, 
magic embodies both art and science. Ordinarily, 
the phrase ^'the art of magic" is used as including 
everything that relates to the subject, from any point 
of view whatever. Therefore, since our present in- 
quiry relates only to the art side of magic, and has 
no concern with its science, w^e have been careful to 
choose for this section a title which avoids the loose 
terminology commonly employed. Then, magic be- 
ing admittedly an art, let us investigate the real na- 
ture of the Art in Magic ; for, upon that investigation 
depends the disclosure of the real secrets of magic. 



CHAPTER II 



THE THREE DEGREES IN ART 

Here we come into contact with a difficulty which 
has taxed the powers of many great minds to the 
utmost. Before we can talk sensibly about ''Art'' 
of any kind we must first define the true meaning of 
that term. We must decide as to what, in our opin- 
ion, art really is. Fortunately in this instance, we 
are not in danger of encountering the obstacle that 
so many able intellects have failed to overcome. We 
are not called upon to define the meaning of art in 
the abstract. We have only to define what is meant 
by "Art in Magic." To that end, we may evoke the 
aid of both authority and common sense. 

It was, we believe, Robert-Houdin who said that 
a conjurer is in reality "an actor playing the part 
of a magician." There is only one fault in that 
statement. He should have said "a great conjurer." 
Because, as we all know, there are many conjurers 
who only play the part of some other conjurer. 
That, however, is a matter with which we shall deal 
forcibly later on. For the present, we will accept 
the broad principle expressed in Robert-Houdin's 
definition of a conjurer. That definition may not be 
— and is not — accurate in relation to what a con- 
jurer always is; but, beyond doubt, it is accurate in 
the sense of defining what a conjurer always should 

5 



6 



OUR MAGIC 



be. A real modern magician, then, is essentially 
an actor. He must be so, or as the sole alternative, 
he must be a duffer. Both authority and common- 
sense unite in compelling us to that conclusion. To 
all intents and purposes, the real art of the magician 
is identical with that of the actor. The magician's 
methods, of course, are widely different from those 
of the actor; but, whatever difiference there may be 
in method, the principles involved are identical in 
both cases. 

From the time of Aristotle to the present date, 
the consensus of opinion has decided that all art is 
based upon imitation. Most of the authorities have 
"flown off the handle," in trying to decide what con- 
stitutes art in the abstract; but all agree that the 
basis of art is imitation — either the imitation of 
something that actually exists, or of something that . 
might exist, in circumstances imagined by the artist. 
With this knowledge in our possession, and fortified 
by the exercise of our own judgment, we realise the 
fact that a display of skill given by a magical per- 
former should imitate, and, thus, convey to the spec- 
tators, the impression of effects produced by super- 
normal powers. Herein, we may justly say that we 
stand upon sure ground — and here we may rest, so far 
as primary considerations are concerned. We have 
no need to be led out of our depth by trying to define 
that Will-o'-the Wisp "Abstract Art." 

Now, artistic judgment may, to a great extent, be 
gained by study and experience. Similarly, phys- 
ical adaptation may be developed by early and sys- 
tematic training. And the acquisition of either of 



THE THREE DEGREES IN ART 7 



those essentials may be considerably facilitated by 
means of accurate knowledge. Such knowledge may 
be either theoretical or practical; but, of the two, 
the theoretical must, in the long run, prove to be the 
more valuable. It, necessarily, conducts the student 
to the bed-rock of his subject; whereas, the study of 
practical details only leads to a knowledge of iso- 
lated facts. By means of the latter form of study 
the student may learn what to do, in order to produce 
certain effects. But, however much attention he may 
devote to the acquisition of that detailed knowledge, 
he will never ascertain therefrom the reasons which 
underlie the processes he employs. He will only 
learn the ''how" of his work; the "why" will remain 
obscure. In short, he will never really understand 
his business. Everything he does will be done 
blindly. Every new departure he endeavours to 
make must be subject to conclusions arrived at by 
means of ''trial and error." Any little variation 
upon his usual practice will represent a subject of 
extreme doubt. He can only think that what he ■ 
proposes to do will produce the result he desires. 
He can never know what he is doing, because he 
does not understand why the things he does are suc- 
cessful. 

On the other hand, the man who has gained a 
knowledge of the broad principles which constitute 
the foundation of the art side of magic must, neces- 
sarily, possess a great advantage, in such circum- 
stances. He knows the reason why each effect he 
has already produced has been successful. He can 
follow the manner in which each of his previous de- 



8 



OUR MAGIC 



vices has operated, in influencing the minds of spec- 
tators. Similarly, from his knowledge of basic 
principles, he will be able to deduce the proper man- 
ner of presentation, and the probable efifect of any 
new conception. The same principles which gov- 
ern what he has already done also govern what he 
is about to do. Therefore, being acquainted with 
the 'Svhy" of the matter, he is not afflicted by doubts 
concerning the "how." Putting the whole thing in 
a nutshell, it simply comes to this — the man not only 
knows his business; he also understands it. He 
knows the technique and understands the art. As to 
the great value — and the commercial value — of the 
understanding, we think, there can exist no possible 
doubt. 

As already stated, there is a kind of art which im- 
itates things imagined by the artist. There is an- 
other kind of art which imitates things that actually 
exist. There is also a third kind — that which im- 
itates neither things imagined by the imitator, nor 
things that exist; but merely imitates the imitations 
of others. These three varieties may, respectively, 
be described as High Art, Normal Art, and False 
Art. 

We will now turn our attention to the systematic 
discussion of the three phases of art thus defined, and 
endeavour to arrive at sound conclusions thereon in 
relation to the Art in Magic. 

The subject of false art in magic, when rationally 
investigated, presents no difiiculties, in the way of 
either doubt or obscurity. In magic, as elsewhere, 



THE THREE DEGREES IN ART 9 



false art is the art which imitates art. It is an imita- 
tion of an imitation. An illustration of this may be 
given by means of a familiar analogy in connection 
with painting. Pictures painted by the great mas- 
ters are frequently reproduced by students and by 
professional copyists. Many of the copies thus ex- 
ecuted are, in all practical respects, facsimiles of the 
original pictures from which they were copied. 
Yet nobody, in his sober senses, could possibly re- 
gard those copies, however faithful they may be, as 
works of true art. We have all seen copies of in- 
valuable masterpieces offered for sale. We have all 
noted the insignificant price at which such copies are 
sold. We have all been struck by the small value of 
the copies as compared with their originals, the latter 
being, very often, so precious, that money could not 
buy them. The reason for this discrepancy is ob- 
vious. The originals are works of high art. The 
copies are works of false art; except, of course, that 
they have the m.erit of honesty. They are, ad- 
mittedly, nothing more than copies. 

As in painting so also in magic. To produce a 
magical efifect, of original conception, is a work of 
high art. It imitates the exercise of magical powers, 
by means and in a manner conceived by the artist 
who produced it. To reproduce a magical effect, 
exactly as already conceived and executed by an 
artist in magic, is false art. It merely imitates the 
original imitation; and, in actual value, is just as 
worthless as a painting copied from another paint- 
ing. Any weakling may be taught how to do that 



lO 



OUR MAGIC 



kind of thing; and, having learned his lesson, may 
earn an income equivalent to the value of a weak- 
ling's work. 

Yet, in spite of the truth of the foregoing state- 
ments, many of those who practise magic, either as 
a means of livelihood or as an intellectual recreation, 
appear to be entirely ignorant of the very existence 
of such facts as those we have reviewed. In all prob- 
ability, those men would feel highly offended were 
any doubt cast upon their claim to be regarded as 
artists. Yet, in all they do, they prove themselves to 
be mere mechanics. They can do just what some- 
body else has already done— and they can do nothing 
more. Such men are not artists. They cannot be; 
since, in all their works, the only kind of art dis- 
played is the false art, which is an imitation of real 
art. 

The class of man above indicated represents a type 
that must be very familiar to all. The methods 
adopted by such men are of common knowledge. 
Suppose, for instance, Mr. Artist produces a novel 
and successful effect. No sooner has he done so than 
Mr. Copyist becomes on the alert and forthwith pro- 
ceeds to haunt the place wherein Mr. Artist's 
performances are given. By means of persistent 
observation, aided perhaps by accident, by means of 
purchase from some other imitator, or, it may be, by 
means of bribery and corruption, Mr. Copyist even- 
tually acquires the knowledge and equipment requis- 
ite for the reproduction of the novel effect. That 
end having been attained, one might think that Mr. 
Copyist would need to gain nothing more at 



THE THREE DEGREES IN ART ii 



Mr. Artist's expense. Generally, however, that is far 
from being the state of the case. Although he has 
become possessed of the technical requirements con- 
nected with the effect he seeks to reproduce, Mr. 
Copyist, even then, is not content to take off his coat 
and do a little meritorious work. Having got what 
he wanted in order to reproduce the effect at all, he 
might surely be expected to infuse some spice of 
originality into his reproduction. But, no ! He will 
not trouble himself, even to that slight extent. He 
does not mind expending his time in gathering the 
crumbs that fall from another's table; but he has a 
rooted objection to expending energy in making his 
own bread. So he continues to attend Mr. Artist's 
performances until, in course of time, he has learned 
by heart every word Mr. Artist says, every inflection 
of Mr. Artist's voice, and every movement and ges- 
ture Mr. Artist makes. Then, and then only, is Mr. 
Copyist prepared to set to work on his own account. 
And when his reproduction is exhibited, what is it? 
Generally speaking, it is but a pale reflection of the 
original work of art. At the best, it is merely a 
slavish imitation ; and, as such, has no artistic value. 

On several occasions we have made an experiment 
which is always interesting. That experiment has 
been tried upon copyists, clinging to the skirts of 
various arts, including magic. It consists in saying 
to Mr. Copyist, at the conclusion of his performance, 
''I had only to close my eyes, and I could almost have 
believed it was Mr. Artist who was performing." 
Thereupon, Mr. Copyist has, invariably, assumed an 
expression of smug satisfaction, and has given thanks 



12 



OUR MAGIC 



for the great compliment ( ?) paid him ! If he could 
only have realised what was passing in the mind 
of the person to whom his thanks were addressed 
— but, there! his mental calibre, of course, forbids 
any such exercise of intelligence. Yet, one cannot 
help coveting the blissful ignorance and the sublime 
impudence which enable such a man to pose as an 
artist. The possession of an intellect so obtuse, and 
a hide so pachydermatous, must confer upon the 
possessor a degree of self-satisfaction unknown to 
men of real ability. 

Some may, possibly, think we have been too severe 
upon Mr. Copyist. It must be remembered, how- 
ever, that no useful purpose can be served by mincing 
matters, when endeavouring to uphold any just cause. 
If magic is to be raised to its proper level among 
the fine arts one must not withhold the statement of 
any truth, however disagreeable it may be, that may 
help to drive home the essential points which dis- 
tinguish real Art in Magic from the false art, so 
often met with in the practice of magic. 

Leaving, for the present, the subject of False Art, 
we will proceed to the more agreeable considerations 
connected with True Art in Magic. Of this, as we 
have already seen, there are two kinds — Normal Art 
and High Art. Those definitions, of course, do not 
represent qualities that are capable of hard-and-fast 
classification. In the nature of things, that is im- 
possible. The range of art, from its highest grade 
to its lowest, includes every possible degree of merit. 
Except in general terms, one cannot say that, within 
such and such limits, Normal Art is contained and, 



THE THREE DEGREES IN ART 13 



beyond those limits, we have on the one hand, High 
Art, and on the other False Art. There is an almost 
imperceptible gradation, throughout the entire scale, 
between each particular degree and those adjoining 
it. One can only generalise, when dealing with the 
principles of any form of art; and, speaking broadly, 
say that High Art is situated near to the top of the 
scale, Normal Art near the middle, and False Art 
near the lower end. It is the normal or average de- 
gree — approximating to the central position of the 
scale — that will next claim our attention. 

When discussing False Art in Magic, we had no 
difficulty in providing a definition of its nature. 
When we say that False Art is the art which imitates 
art, we are merely stating a truism, and one that is 
equally applicable to all arts alike. But, when we 
proceed to define Normal Art in Magic, we find the 
task somewhat more difficult. In painting, for ex- 
ample, it is easy enough, and accurate enough to say 
that Normal Art is the art which imitates Nature. 
We can all understand that the normal artist, in paint- 
ing, is he who transfers to his canvas a transcript of 
what he himself has seen in Nature. In Nature, how- 
ever, there is no magic, because the very essence of 
Magic is that it, apparently, sets the laws of Nature 
at defiance. "Natural Magic" is really a contradic- 
tion in terms. It may mean almost anything, accord- 
ing to the sense in which it is used. Therefore, apart 
from art of some kind, magic has no existence. 
Then, the point is, how can the normal artist in magic 
reproduce the normal effects associated with magic 
without, at once, becoming a false artist — one who 



OUR MAGIC 



imitates art? It is a very pretty question, involving 
an interesting problem. The answer to that question 
and the solution of that problem, cannot fail to pro- 
vide a valuable mental exercise for all magicians who 
respect their profession and value their art 

At the first glance, it may appear that, at this stage 
of our investigation, we have encountered a difficulty 
of considerable magnitude; or, possibly, an insur- 
mountable obstacle. A very little reflection, how- 
ever, will show that such is by no means the case. 
The difficulty is more apparent than real. The prin- 
ciples which govern the normal practice of other arts 
will be found, absolutely, of equal validity in the 
Art in Magic. This may readily be demonstrated 
by amplifying the analogy, already employed, be- 
tween magic and painting. 

In painting, the normal artist makes a picture, 
representing something, or a combination of many 
things, that will reproduce the efifect of actually 
looking upon the work of Nature. He does not 
create anything; he merely imitates things, which al- 
ready exist, on canvas. The things he paints re- 
semble, more or less, things which others have 
painted. As a rule, such resemblances, in normal 
art, are inevitable. The important point, however, 
is that the things he paints do not imitate paintings 
made by others. The various things which enter 
into the composition of his picture are the common 
property of every artist. Everyone is at liberty to 
combine those details, in any manner he may think 
fit, to produce whatever effect he chooses. But, so 
soon as any painter copies a particular combination, 



THE THREE DEGREES IN ART 15 

or a particular treatment of such details, as repre- 
sented in the work of another, so soon will his work 
be reduced to the level of false art. 

Now, in view of these self-evident facts, the diiB- 
culty of defining the nature of Normal Art in Magic 
becomes reduced to very small dimensions. In fact, 
one can scarcely say that any difficulty exists. Just 
as the average painter has at hand innumerable de- 
tails of subject and technique, all of which are com- 
mon property, so has the average magician a wide 
selection of materials which, in common with all his 
fellow-artists, he is at liberty to use. Just as the 
painter uses familiar methods and stock subjects for 
the production of his pictures, so does the magician 
use methods and subjects which have a similar rela- 
tion to his own special art. In either case, the chief 
characteristic which distinguishes Normal Art from 
False Art consists in the fact that the former relies 
upon personal ability, while the latter sponges upon 
the ability of others. That is perfectly clear. 

There need be no hesitation in giving a definition 
of what constitutes Normal Art in Magic. Ob- 
viously, it is the art which employs familiar means to 
produce its own especial results. Normal Art of 
every kind, when reduced to its true basis, consists 
in that, and nothing more. Certain subjects and cer- 
tain methods are common property. The normal 
artist utilises those subjects and methods, without 
copying anyone else. That is to say, the difference 
between the essentially false and the essentially true, 
in any art, lies in the respective absence or presence 
of original efifort. One may be a true artist without 



i6 



OUR MAGIC 



possessing creative genius. Individual skill in adap- 
tation will suffice. But no true artist can ever be 
made from the material contained in a mere copyist. 
On the other hand, however, a normal artist may only 
too readily degenerate into a copyist, unless he be 
careful to keep in view the duty he owes both to his 
art and to himself. 

Upon such points, the man who, even in a very 
minor degree, possesses the true artistic temperament, 
cannot help feeling and speaking strongly. He who 
seeks to acquire or to retain the social position as- 
signed to an artist, can never lose sight of the maxim 
''Noblesse oblige.'' He is, perforce, compelled to 
avoid many practices which, if employed in com- 
merce, would be perfectly justifiable. He who em- 
ploys the tradesman's methods must be content to 
remain a tradesman. His ultimate aim consists in 
the making of money; a thing with which art has 
no concern. It is true that, in art, even more profit 
may often be made than in trade ; but whatever profit 
may incidentally accrue to the artist, his ultimate aim 
is far higher than matters relating to finance. He 
has, of course, every reason for studying his own in- 
terests. Nobody can blame him for that; nor, in- 
deed, can do otherwise than approve his prudence. 
But, at all times, the interests of his art are para- 
mount. Should there arise an occasion when an 
artist finds self-interest opposed to the interests of 
art, he must be prepared to sacrifice profit upon the 
altar of duty. If he cannot do that, he is no true 
artist. Let him, then, come down from his pedestal, 
and take his place among work-a-day humanity. In 



THE THREE DEGREES IN ART 17 



doing so, he will suffer no disgrace ; but, on the con- 
trary, he will deserve honour. By ridding himself 
of an unwarrantable assumption of artistic merit, he 
will be absolved from the guilt of false-pretence. 

In magic, then, the normal artist is he who takes 
materials which are the common property of all who 
practice his art, and utilises those materials for his 
own particular ends. His general purpose, of 
course, like that of all magicians, is the simulation 
of supernatural effects. And, in the achievement of 
that purpose, the work done by the normal artist in 
magic will fall within one or other of three cate- 
gories, which may be outlined as follows : 

1. The use of familiar methods, in a familiar com- 
bination, to produce a familar effect, but with some 
originality in presentation, 

2. The use of familiar methods, in a novel form of 
combination, to produce a familiar effect, the manner 
of presentation displaying some originality. 

3. The use of familiar methods, in any form of 
combination, to produce a novel effect, the presenta- 
tion of which must, necessarily, possess more or less 
originality. 

Everything which is not contained in those three 
very extensive categories must be something which is 
either greater or less than Normal Art in Magic. It 
must approximate, either to False Art at one extreme, 
or to High Art at the other. 

In our Normal Art, as already defined, it will be 
noted that every department possesses one charac- 
teristic that is common to all, viz., originality of pres- 
entation. And, having carried our investigation 



1 8 



OUR xMAGIC 



thus far, we are able to see that, without the saving 
grace of original presentation, a magician's work 
must necessarily degenerate into False Art. The ex- 
tent of such degeneration will be exactly commensu- 
rate with the degree to which that work imitates the 
work of other magicians. In other words, the degen- 
eration is proportionate to the imitation of art. The 
very moment we detect the existence of art which 
imitates art, we know we are face to face with falsity, 
more or less pronounced. On that point we need 
have no fear of being mistaken. Knowing what we 
know, our estimation of a magician's merit will be 
governed, mainly, by this particular consideration. 
When we recognise the presence of false art we pre- 
pare ourselves to estimate the depth to which the 
magician will sink. When we note the absence of 
false art we prepare to observe the height to which 
the magician will rise. Therein we instinctively act 
upon the dictates of common sense and common jus- 
tice. 

Turning to the other extreme, however, we find 
that our normal art presents a very wide field for 
expansion, and is capable of attaining a very high 
level of merit. Indeed it may be raised to a level 
which approximates, very closely, to high art. So 
closely, in fact, that it encroaches upon the hinterland 
dividing the two higher sections of art. In this re- 
spect everything depends upon the amount of orig- 
inal accomplishment displayed. The essential truth 
of this latter statement will become more apparent 
when we proceed to discuss the actual characteristics 
of High Art in Magic. 



THE THREE DEGREES IN ART 19 



We must never lose sight of the fact that in magic, 
as in all other intellectual occupations, Normal Art 
is, by far, the most important department. High Art 
is a sporadic and accidental development that may 
be productive of beneficial influences, if only it can 
secure due appreciation. In any event, how^ever, its 
influence can never be otherwise than for the good. 
False Art is a parasitic growth that can only be pro- 
ductive of evil, and should never be permitted to live. 
Between the two there lies the Normal Art, which 
includes the vast bulk of magical representations; 
and upon the elevation of which all true progress 
depends. It is useless to point out the merits exhib- 
ited by the work of this or that exponent, and say — 
^'See how high a level magic has attained!" It is 
unjust to quote the doings of certain so-called "Art- 
ists," and say — ''See the depths to which magic has 
become degraded!" The true status of magic, as an 
art, can only be ascertained by means of evidence 
derived from the work of accredited Normal Art- 
ists. The more really our Normal Art, as a whole, 
can be made to approach the status of High Art, 
the greater will be the elevation attained by magic. 
The more nearly our Normal Art approximates to 
False Art, the lower must the whole art of magic 
sink. These statements admit of no dispute, as any 
man of ordinary intelligence can perceive. By our 
Normal Art we must either stand or fall. There is 
no help for it. If Normal Art become debased no 
individual genius can save it. If Normal Art be 
represented by men who respect their art, no char- 
latan, however notorious, can ever degrade it. 



20 



OUR xAIAGIC 



The future of our art, then, rests with the Normal 
Artist. Upon him depends the ultimate develop- 
ment of magic. If he be not true to his art, the false 
artist will, in the end, reign supreme. In such cir- 
cumstances magic must relinquish all hope of attain- 
ing a position among the Fine Arts. It must be rel- 
egated to the position of a mechanical art — an 
inferior mechanical art — lower even than that of a 
circus juggler. This is obvious, because, from the 
standpoint of mechanical art, the juggler's attain- 
ments are far higher than those of a magician. The 
latter can only take a higher place by realising that 
he has to depend for success upon his brains, rather 
than upon his hands. In manipulative skill, he is 
hopelessly outclassed by the juggler. The amount of 
practice and physical training he requires cannot in 
any way be compared with that which is needed by 
the juggler. If, therefore, the Normal Artist in 
magic insists upon regarding his art as a mere con- 
geries of mechanical accomplishments, he must be 
content to occupy a position inferior to that of a 
common juggler, and immensely inferior to that of 
a skilled mechanic. 

The question of manipulative skill, as considered 
in relation to the respective accomplishments of the 
conjurer, the juggler and the artificer, may be put in 
a nutshell. Where the conjurer requires weeks of 
practice the juggler requires months. And, where 
the juggler requires months of practice the skilled 
mechanic requires years. This is written, remember, 
by men who know what they are talking about — 
who are familiar with the three kinds of training in 



THE THREE DEGREES IN ART 21 



question. Mere opinion does not enter into the mat- 
ter at all. As a mechanical art, e., as a form of 
manipulative skill, magic occupies a very lov/ posi- 
tion indeed. Only as an intellectual pursuit can it 
claim to be regarded as an art. 

At times we have conversed with conjurers, pro- 
fessional and amateur, who have become momenta- 
rily enamoured of some original or newly-introduced 
manipulation. In such cases it is singularly inter- 
esting to note the attitude of mind displayed by the 
enthusiast. He is proud of his attainment as though 
it were an infant prodigy of whom he were the par- 
ent. He speaks of it in rapturous terms, as though 
it represented the highest achievement of which the 
magic art is capable. And, no doubt, if he were 
questioned on the point he would say that, in his 
opinion, the production of such ingenious devices 
must be regarded as the high-water mark of Art in 
Magic. 

When, however, we apply to such matters the 
touchstone of actual knowledge, we have no diffi- 
culty in seeing that the judgment pronounced by our 
enthusiast is wildly wide of the mark. Greater folly 
indeed could hardly be put into words. To say that 
any mere manipulation can possibly be regarded as 
a work of high art, is to sound the very depths of 
absurdity. Manipulative processes are only one 
small portion of the means whereby the purposes of 
art are served. They are useful — indeed they are 
indispensable. But so are the brushes of the painter, 
and the chisels of the sculptor. In the work of an 
artist, mere handicraft has a value very little higher 



22 



OUR MAGIC 



than that of the utensils employed therein. The only 
adjunct to which pride of place may be assigned is 
the artistic brain which conceives and directs the 
purposes of handicraft and utensils alike. 

To complete the preliminary stage of our investi- 
gation, we will now discuss the essential features of 
High Art in Magic. As in previous instances, we 
must first define precisely what we mean by the term 
^'High Art" and ascertain what it is that, provably, 
constitutes the quality in question. 

Herein we are confronted by no shadow of diffi- 
culty, either in connection with general principles 
or with specific details. High Art in Magic is, in 
every essential, the counterpart of High Art in other 
callings. It is that which originates and executes 
truly artistic conceptions. It represents the most 
complete triumph of mind over matter. It exists 
only in its power to create, but its creations are, 
humanly speaking, imperishable. As Shakespeare 
says : 

''Not marble, nor the gilded monuments 
Of princes, shall outlive this powerful rhyme." 

— Sonnet LV. 

Those words are applicable, in principle, to High 
Art of every kind. When, for instance, we review 
the history of magic, we cannot fail to recognise the 
inherent immortality of those works which have pos- 
sessed the qualities essential to High Art. The work 
of the magician, like that of the actor, is among the 
ephemeridcB of civilisation. The magician himself 
leaves behind him very little beyond a name. Yet 



THE THREE DEGREES IN ART 23 



how great is the intrinsic value of that little, reckoned 
in hard cash. Its extrinsic value is, at the same time, 
immeasurable. In the bare records handed down 
to us in the history of magic, an immensity of prog- 
ress and a wealth of honestly artistic accomplishment 
are epitomized. Those who know the vast amount 
of hammering that has to be done before even the 
faintest echo of their work is heard by others, can 
read between the written lines and can fill in the 
blank spaces of history. Thus they are able to ap- 
preciate the achievements of their predecessors, with 
some approach to accuracy. 

When, from the vantage point of knowledge and 
experience, we review the history of magic, we in- 
stinctively realise that the achievements which live 
are those which truly possess the character of High 
Art. They are the works of creative genius — the 
works of Master Magicians, whose mastery was due 
to an innate sense of the principles which underlie 
true art. Dispossessed of that sense, those men 
would never have occupied the place in history 
which now is theirs by right. The degree to which 
their work was dominated by artistic principles is 
evident to anyone who undertakes a dispassionate 
study of the matter. 

If we bring an open mind to bear upon the 
achievements of Past Masters in Magic, and com- 
pare the purely technical merit of those works with 
that displayed in other branches of invention, the 
comparison thus instituted is very far from being 
favourable to magic. On the contrary, it shows 
magic in a very poor light. Regarded in that light 



24 



OUR MAGIC 



magic appears to consist merely in a series of second- 
rate mechancial devices and childishly simple proc- 
esses. Such is the actual fact, beyond all possibility 
of dispute. Hence the obvious folly, as already 
stated, of imagining that the Art of Magic is repre- 
sented by "sleights" and "fakes." Such devices only 
constitute a branch — a very insignificant branch — of 
mechanical handicraft, and nothing more. 

To regard the Art of Magic in so unworthy a light 
is a serious blunder; proverbially worse than a crime. 
The art we profess is not contained in the mere de- 
vices we employ, nor does the history of our art 
consist in a catalogue of the devices handed down to 
us. If, in magic, such things were all that can be 
claimed, this book could never have been written. 
If matters of pure technique— mere handicraft — 
were all we have to discuss, the phrase "Art in 
Magic" would represent a solecism of the first water. 
Fortunately for us, however, magic occupies a far 
higher plane than that of the actual means it employs. 
Such is the case in every art ; for art, of any kind, can 
only begin where processes end. As grammar is to 
literature, or versification to poetry, so are sleights 
and fakes to magic. Such things are the means not 
the end of art. In other arts, this fact is clearly un- 
derstood and appreciated; but, in magic, neither the 
literature nor the general practice of the art has, so 
far, shown any indication of a true understanding of 
this most vital question. Surely it is our bounden 
duty to do our utmost towards correcting this lam- 
entable defect. When that correction has been 
duly made— and not until then^ — ma,gic will attain 



THE THREE DEGREES IN ART 25 



the position among fine arts, to which it is justly en- 
titled. 

To return, however, to the history of magic, there 
is one obvious question that arises. In view of what 
has already been said, wherein lies the true merit — 
the High Art — of the classic productions handed 
down to us? That question is easily answered. 
And, still more easily, can we say wherein the true 
merit of those productions does not consist. For ex- 
ample, it does not consist in the inventive ability, as 
ordinarily understood, of the old masters. It does 
not consist in the mechanical ingenuity they dis- 
played. It does not consist in the manipulative skill 
at their command. It does not consist in the theo- 
retical knowledge they possessed, nor in the practical 
experience they gained. Such elementary matters 
barely touch the fringe of true art. Then, by the 
simple process of exclusion, we arrive at the only 
possible answer. The true merit of the masterpieces 
in question consists in the originality they display, 
and the perfection with which they simulate the op- 
eration of supernatural influences. The honours 
gained by master magicians have been due to a genius 
for conceiving and fulfilling the requirements of ar- 
tistic originality. In every art the Master is he who 
can produce original effects and understands how to 
present them in an original and convincing manner. 

Thus there are three elementary facts which are 
well worthy of remembrance. Without thorough 
knowledge no man can become a true artist. With- 
out honourable ambition no man can become a high 
artist. And, without originality no man can become 



26 



OUR MAGIC 



a great artist. Of course we cannot all attain the 
greatness to which the master magicians are so worth- 
ily entitled. We cannot all hope to become expo- 
nents of the highest art in magic. But we can all, at 
least, try to do so, and in proportion to our united 
efiforts in this direction, we shall raise the status of 
magic as an art. 

In this connection we may advantageously bear in 
mind the words written centuries ago by Sir Philip 
Sidney : — 

"Who shootes at the mid-day sonne, though he be sure 
he shall never hit the marke, yet as sure he is he shall 
shoote higher than who aymes but at a bush." 

That kind of '^shootynge" represents a perfect 
analogy to the methods of high art. The actual end 
can never be attained; but, nevertheless, every true 
artist will endeavour to approach it as nearly as his 
natural abilities will permit. The heights we reach 
are all that may be counted to us for righteousness. 
A lifetime of efifort, upon one dead level, is of less 
value than a single step towards higher aims. And, 
at the same time, every artist knows that, whatever 
may be the height he attains, his successors will go 
higher still. He has builded upon foundations laid 
by others, and others, in turn, will build upon the 
foundations he has laid. He can only say to poster- 
ity, in Kipling's words: — 

*'After me cometh a Builder. Tell him, I too have 
known." ^ 

I'Thc Five Nations," page 66. 



THE THREE DEGREES IN ART 27 



Having made ourselves acquainted with certain 
fundamental truths we may now pass on to the con- 
sideration of specific principles. Our best course, 
undoubtedly, will be to investigate various important 
qualities associated with the art of magic; and thus 
deduce certain rules, whereby the production of ar- 
tistic results may be facilitated. 

Here, however, we must be careful to avoid falling 
into a very common error. We must not be drawn 
into a belief that, in art of any kind, there is or can 
be any specific rule which may not be set aside upon 
occasion. Cast-iron regulations are antagonistic to 
every form of art. It is impossible to give recipes 
whereby the creation of artistic effects may be as- 
sured. It is only possible to lay down rules for the 
avoidance of certain ascertained defects, and even 
such rules are not capable of rigid observance at all 
times. Their operation is controlled by attendant 
circurhstances ; and, in order to use them to full ad- 
vantage, their scope and meaning must be fully un- 
derstood. At the same time, there is one general rule 
whereby at all times our procedure may be governed. 
That rule may be stated as follows : — 

(i) Never set aside any accepted rule, unless it be 
absolutely necessary to do so for some clearly defined 
reason. 

The application of this rule will become increas- 
ingly evident as we proceed with our investigation. 
For the present it will suffice to say that, when we 
have reasoned out and formulated a logical conclu- 
sion, that conclusion should be adhered to so far as . 
may be possible. Thus, when no valid reason can 



28 



OUR MAGIC 



be given for breaking an accepted rule, the latter 
should be obeyed. With this preamble, we may 
proceed to the detailed inquiry we have in view, 
treating each particular quality of art under its own 
separate heading. 



CHAPTER III 



UNITY 

In all probability, the quality to which the term 
''unity" is applied, is the most important factor in 
relation to every form of art. At any rate, we may 
safely say there is no quality of greater importance. 
As in other arts, so in magic, unity is a first essential 
to success; since, without it, artistic results are im- 
possible. This has been understood and accepted 
since the earliest days of art. For example, cen- 
turies before the Christian Era, Aristotle wrote, con- 
cerning the Grecian Drama: — 

'^As, therefore y in other mimetic arts, one imitation is 
an imitation of one thing, so here the fable, being an 
imitation of an action, should be an imitation that is one 
and entire; the parts of it being so connected that, if any 
one of them be either transposed or taken away, the 
whole will be destroyed or changed. For whatever may 
he either retained or omitted, without making any sensible 
difference, is not properly a part, — Poetics, Part II, 
Chap. V. 

If, for the word ''fable" we substitute the words 
^'magical feat," or other equivalent term, the fore- 
going paragraph will become as appropriate to the 
Art of Magic as it now is to Dramatic Art. But, 
since we are engaged upon an independent inquiry, 

29 



30 



OUR MAGIC 



we must not be content to accept, without proof, the 
mere pronouncement of any authority, however emi- 
nent. It is necessary to make sure of our ground as 
we proceed, and to obtain all reasonable proof that 
the conclusions we adopt are well-founded. Let us, 
then, review the facts systematically; and, in the 
light of knowledge thus gained, form our own con- 
clusions as to the characteristics and importance of 
unity. 

At the outset, for very obvious reasons, we may 
discard the mass of proverbial nonsense which has 
crystallised around the idea of singleness of purpose 
and action. Such matters as the impossibility of do- 
ing, properly, two things at once — of being in two 
places at one time (with particular reference to Sir 
Boyle Roche's bird) — of facing both ways simultane- 
ously, and so forth, such matters may be set aside en- 
tirely. Mere impossibility is a consideration which, 
in magic, has no weight whatever. The essence of 
the art consists in, apparently, accomplishing things 
which are impossible. What we are concerned with, 
just now, is the expediency of presenting each mag- 
ical item in the form of an harmonious whole, and of 
avoiding everything in the nature of incompleteness 
or discontinuity. Therein lies the true conception of 
artistic unity. 

"One imitation," as stated in the quotation given 
above, "is an imitation of one thing." That is ob- 
viously true. And one magical act, as presented to 
an audience, should constitute an imitation of one 
apparently-supernormal feat, culminating in one 
apparently-miraculous effect. We have only to re- 



UNITY 



31 



fleet for a moment to realise the fact that, in order to 
obtain a perfect effect, the only possible course is 
to rivet the attention of the audience upon one con- 
tinuous chain of events, which will lead up to one 
definite and impressive result. In this connection, 
it is necessary to remember that an audience is not 
amenable to compulsion, and cannot be relied upon 
to make any serious mental effort. Spectators at- 
tending a magical performance have no idea of exert- 
ing themselves, either mentally or physically, for 
the performer's benefit. Why should they? They 
are there to be amused, and for no other purpose. 
The exertion of following and remembering details 
which involve any element of complexity, or of try- 
ing to understand any matter which exhibits a mere 
trace of obscurity, is a thing which no magician has 
a right to demand of his audience. His spectators, 
very justly, expect that everything connected with 
the entertainment shall be so presented as to be 
readily understood. Hence, it is important that, as 
a matter of ordinary practice, each presentation 
should consist in an unbroken sequence of events. 
Here, for the moment, we may pause, to set down a 
valuable and well-understood rule: — 

(2) Always endeavour to form an accurate con- 
ception of the point of view most likely to be adopted 
by a disinterested spectator. For a performer to 
put himself in the place of his audience requires the 
exercise of an amount of imagination and — may we 
say it? — of judgment, rarely to be met with, among 
those who are otherwise qualified to entertain the 
public. Yet, the more completely a magician can 



32 



OUR MAGIC 



obey this rule, the greater will be his chances of suc- 
cess. The task before him is gigantic — but he 
should attempt it nevertheless. He must try to for- 
get the importance of things which appeal to him 
most strongl}^. Because, for all the public knows 
or cares, those things might as well be non-existent. 
The difficulty of his manipulations; the ingenuity 
and originality of his inventions; the refinements and 
improvements he has introduced; and, above all, the 
distinctive merits personal to himself, should be dis- 
regarded. All such matters should be lost to sight, 
in order that the one supreme consideration may not 
become obscured, even for a moment. The efifect to 
be made upon his audience is the one thing a magi- 
cian should keep in view, ^is the Americans say, 
"first, last, and all the time." 

The Eifect — and, bear in mind, the effect upon an 
audience — that is the sole issue at stake. At the 
moment of presentation, that is the only thing which 
matters. In all the wide world, so far as the audi- 
ence is concerned, there is no other consideration 
worthy of so much as a passing thought. Conse- 
quently, as a general proposition, it may be said that 
the greatest possible error any magician can ever 
have laid to his charge is that of "conjuring for con- 
jurers" at a public performance. Such conjuring 
may be entirely admirable, when the audience is 
composed of conjurers. But, before the general 
public, it must be regarded as inartistic; for the 
simple reason that, in such circumstances, it is bound 
to fail in its effect. Between the point of view of 
a conjurer and that of an ordinary spectator there is 



UNITY 



33 



a great gulf. Therefore, at a public performance, 
the production of an artistic effect may often de- 
mand the adoption of methods which, with an audi- 
ence of conjurers, would be quite contrary to rational 
procedure. 

Since the primary aim of a magician's art is to 
entertain the public, the importance of the following 
rule is self-evident: — 

(3) Avoid complexity of procedure, and never 
tax either the patience or the memory of an audi- 
ence. 

The thing presented should appear to consist in 
a perfectly regular and natural series of operations; 
and, when the final effect is produced, it should be 
capable of instant appreciation. If its appreciation 
be made to depend upon any conscious mental ac- 
tivity, or any effort of memory on the part of the 
audience, a proper effect can seldom be achieved. 
If, in order to understand precisely what has hap- 
pened, the spectators have to reflect, even for a few 
moments, upon the various stages of procedure which 
led up to the denouement, it is certain that, from an 
artistic point of view, the presentation must be un- 
satisfactory. There must be a lack of unity, in some 
respect or other. By chance, the audience may hap- 
pen to have retained an impression of the details 
relevant to the final issue ; and, if so, the result may 
be fairly good. That, however, will be an acci- 
dental occurrence; and no true artist ever trusts to 
accident. The effect produced should be, as Pope 
says, 'The result of Art, not Chance." In this con- 
nection, the following rule may be stated : — 



34 



OUR MAGIC 



(4) Never produce two simultaneous effects, and 
let no effect be obscured by any subsidiary distrac- 
tion. 

Suppose, for instance, a magician were present- 
ing the familiar "Four- Ace trick"; and, not being 
an artist, he thought to enhance the effect by either 
introducing irrelevant manipulations, or by arrang- 
ing say, that the disclosure of certain previously 
selected cards should occur, simultaneously, with the 
discovery of the four aces, what would be the result? 
In either case, the preliminary operations would in- 
troduce an element of confusion, most detrimental to 
success; and, in the second case, the simultaneous 
production of two diverse effects would be absolutely 
fatal. Distracted by the effort to comprehend two 
problems at once, the audience would fail to appre- 
ciate the significance of either. There would be too 
much to remember, even if the spectators were pre- 
pared to exercise their memory. Whereas, if the 
performer were an artist, he would know that the 
"trick," as usually presented, is complete and perfect. 
That is to say, it would be perfect if instead of the 
four aces, the four kings were used; the three palmed 
cards being knaves, which could be shown momen- 
tarily at the last deal. Nothing can be either 
added or omitted, without marring its effect. That 
is obviously true. For, taking the other extreme, if 
some "hustler" were to omit, say, the first dealing 
out of the cards and the business associated there- 
with, anyone with half an eye can see how much the 
final eflfect would become degraded. There is, in 
fact, only one adequate manner of presenting the 



UNITY 



35 



effect, for the simple reason that in no other way 
can the requirements of artistic unity be fulfilled. 
The imaginary examples quoted are, of course, gross 
exaggerations of such faults as are likely to occur in 
practice. But the difference between the illustra- 
tions and possible fact, is only one of degree, and 
not of kind. The principles involved are identical, 
in either case. The evident conclusion may be em- 
bodied thus: — 

(5) Let each magical act represent a complete, 
distinct, and separate entity ; comprising nothing be- 
yond one continuous chain of essential details, lead- 
ing to one definite effect. 

This rule, of course, must be read in conjunction 
with rule 4, and requires to be properly understood. 
It does not imply that two events may not occur 
simultaneously. Very often, the entire effect of a 
magical presentation consists in the fact that two 
or more things happen at once. Nevertheless, the 
rule holds good; for, although there may be a plu- 
rality of occurrences, a single, complete and undis- 
turbed effect may thereby be produced. 

By way of example, let us consider the details of the 
^Wine and Milk Trick." In this, three large glass 
vases are used. To begin with, a bottle of wine is 
emptied into a vase, No. i ; a quart of milk is poured 
into vase No. 2; vase. No. 3 remaining empty. 
Vases I and 2 are, next, emptied into Vase No 3 ; 
the latter thus containing about half a gallon 
of wine and milk, mixed together, while the 
other two vases are empty. A flag is then taken 
up and waved in the air. Immediately, the wine 



36 



OUR MAGIC 



returns to vase No i ; the milk goes back into No. 2 ; 
and the flag passes into No. 3, from which the liquid 
mixture has now taken flight. Thus, three events 
occur at the same moment. Yet there is only one 
single effect produced. And why? Because the 
very essence of the feat is the simultaneous occur- 
rence of those three events. Those three changes 
are mutually related and interdependent; each being 
the complement of the other tw^o. Such a feat in- 
volves no contravention of rules 4 and 5. If, how- 
ever, it culminated in three simultaneous and 
independent occurrences, there would occur three 
simultaneous, and, therefore, mutually-destructive 
effects. Consequently, in such circumstances, there 
would be practically no residue of combined effect 
worth mentioning. 

Then again, an effect of this kind compels one to 
realise the importance of completeness in presenta- 
tion and also impresses upon us the extreme cogency 
of rule 3, concerning the avoidance of complexity. 
If the thing be not presented in such a way that the 
presentation is rendered complete, in every respect, 
the audience will not understand it. Unless every- 
thing be made perfectly clear — nothing being omitted 
which, in any way, will help the audience to a true 
idea of the problem to be solved — the effect will fall 
flat, nine times out of ten. Without completeness in 
all essential details of word and action, the mere fact 
that three changes occur together will so confuse an 
average audience that, in all probability, the real 
merit of the effect will not be perceived until some 
hours after the performance is over. Spectators, 



UNITY 



37 



having gone home, and had time to think about the 
matter, will realise that, after all, the thing was much 
better than they thought at the time. That, of 
course, is all right in its way. But, so far as the suc- 
cess of an entertainment is concerned, nothing short 
of immediate appreciation is of any great value. 
And, for the purposes of art, anything which is 
not immediately convincing is, undoubtedly, defec- 
tive. 

With reference to rule 3, it is evident that com- 
plexity of procedure is as liable to produce a con- 
fused impression, as is a paucity of essential pre- 
liminaries. In the latter case the audience does not 
receive sufficient information. In the former the 
information conveyed is too voluminous. The audi- 
ence cannot remember what has been said and done. 
In neither case can an adequate efifect be obtained. 

With all due respect to a magician's best friend — 
the average spectator — it is impossible to disguise the 
fact that, in matters such as those just mentioned, 
the occasional stupidity of audiences is beyond exag- 
geration. And, with that fact, every magician must 
be prepared to reckon. Therein, we are led to rec- 
ognise the importance of rule No. 2, concerning the 
spectator's point of view. It is not that the indi- 
vidual units of any audience are necessarily stupid. 
Far from it. The fact is, merely, that any gathering 
composed of average persons may, as a whole, 
readily develop a tendency towards inattention and 
lack of interest. Many causes may contribute to the 
existence of that tendency, indeed, almost any acci- 
dental cause may suffice to produce serious distrac- 



38 



OUR MAGIC 



tion among most members of an audience. It may be 
that hundreds of people have paid their money, and 
have also suffered, great inconvenience, in order to 
have the privilege of crowding together for the pur- 
pose of seeing what one has to show. The whole 
crowd is animated by an intense desire to lose sight 
of no single detail of the performance; and, for 
the time being, has no other aim in life. Yet, let 
one person come in late, or let some unlucky at- 
tendant spill a few coppers on the floor, and the 
whole of that excited audience will leave off attend- 
ing to the things they want, above all, to follow, and 
will devote their entire attention to that late comer 
or those lost halfpence. That is the kind of 
tendency with which an entertainer must, at any 
time, be prepared to cope. Hot, oppressive or re- 
laxing weather, any kind of political or national ex- 
citement; any person with a bad cough, an irritat- 
ing laugh, or an inclination to chatter; the presence, 
even, of a lady wearing a peculiar head-dress, or 
of a man who ostentatiously reads a newspaper, to 
show the world he can afford to pay for an expen- 
sive seat merely to sit in it; all such matters provide 
sources of distraction, capable of inducing inatten- 
tion and apparent indifference among members of 
an audience. 

It is in such conditions that a magician's powers 
are liable to be taxed to the utmost. It is then he 
discovers the extent to which he is justified in call- 
ing himself an artist. In very adverse circumstances, 
of course, no man may hope to hold his audience 
completely. But, short of ''battle, murder and sud- 



UNITY 



39 



den death," or other violent disturbance among the 
spectators, a true artist will, undoubtedly, compel 
attention. If he cannot do that, he may be sure there 
is either something lacking in his performance, or 
it contains unnecessary details which cause distrac- 
tion; that is to say, his presentations, in some respect 
or other, are at variance with the principles of unity. 
He either omits something which ought to be in- 
troduced, or introduces something which ought to be 
omitted. Thus, the performance is marred by the 
existence of either insufficiency, complexity or re- 
dundancy. Accordingly, the audience fails to un- 
derstand what is shown; or, partially understand- 
ing, fails to appreciate. 

Of course, if one chose to argue the question of 
unity on the lines of special-pleading, one might 
contend that, in many instances, the introduction of 
irrelevant matters may cause amusement; and also 
that the mere doing of two things at once may give 
evidence of great skill, whereby an audience may be 
greatly impressed. That is all very true. The 
man who, for instance, could play the cornet and 
violin together, would be very clever and, by some, 
that cleverness would be highly appreciated. But 
such cleverness is not ART. Is there, now, any ar- 
tist in the musical world who would, in his wild- 
est dreams, ever conceive the idea of attempting 
such a feat? No! it is unthinkable. And, what 
is true in the case of music, is equally true in magic. 
Without artistic unity mere cleverness can have but 
little value. It is that kind of thing which was con- 
demned by Shakespeare, in the words : — 



40 



OUR MAGIC 



"Though it make the unskilful laugh, it cannot but make 
the judicious grieve; the censure of the which one must in 
your allowance o'erweigh a whole theatre of others." — 
Hamlet, Act 3, Scene 2. 

Although, for obvious reasons, a magician is 
bound to adapt his performance to the mental 
capacity of particular audiences, that fact does not, 
at any time, justify an entire disregard for artistic 
principles. Every audience, however uncultivated, 
has a certain range of appreciation. Therefore, 
however far an artist may have to stoop, in order to 
reach the intelligence of his audience, he will al- 
w^ays endeavour to maintain his w^ork upon as high 
a plane as circumstances will permit. Only by such 
means, can the public be led to appreciate good 
work. Let them see the best often enough, and due 
appreciation is bound to follow, sooner or later. 

A true appreciation of meritorious work in magic 
will not, probably, become general just yet. The 
public, especially among its lower grades, has too few 
opportunities for comparing good work w^ith bad. 
And, even among the higher strata of society, magi- 
cians have every need to maintain their representa- 
tions at as high a level as possible. There is plenty 
of evidence to show that, unless sound and solid 
merit can be kept constantly in view, a retrograde 
movement is sure to occur. The majority of amuse- 
ment seekers will, certainly, yield to the common pro- 
pensity for acquiring an appreciation of work which 
is meretricious, or showy. 

This fact is amply substantiated in the persistent 
evidences supplied by modern theatrical entertain- 



UNITY 



41 



merits. The decadence of Comic Opera, for in- 
stance, has reconciled the public to the inanities 
of Musical Comedy. Artistic appreciation has thus 
been replaced by an undue exaltation of mere clever- 
ness. It is, of course, commonly supposed that this 
change has been brought about by the gradual de- 
velopment of a public demand, which Musical 
Comedy, alone, could supply. In one sense, admit- 
tedly, that view is correct. The demand has gradu- 
ally arisen, and has been supplied. But it must be 
remembered that no possible event can occur, with- 
out a sufficient cause. Then, it is obvious that the 
growth of a public sentiment cannot represent the 
primary cause of any circumstance whatever. 
There is something which created that public senti- 
ment; and that something, whatever it may be, repre- 
sents the actual cause to which the result in question 
must be referred. In the case we are discussing, 
there can be no reasonable doubt that the de- 
cline of Comic Opera was the primary cause of the 
demand for Musical Comedy. The public turned 
to the latter, simply because it was the best thing ob- 
tainable. People gradually drifted into an appre- 
ciation of its incoherences, because they had nothing 
better with which to compare it. Had not the sup- 
ply of good Comic Opera been, as it were, cut ofif 
at the main, its substitute would never have been in 
demand. Fortunately, the present conditions can- 
not possibly be permanent. They have no solid 
foundation in art. They are based upon a mere 
fashion, which is bound to go the way of all fashions 
alike. 



42 



OUR MAGIC 



These interpolated remarks may appear to be 
somewhat beside the subject of magic. But, since 
all arts are one in principle, the digression is use- 
ful. What has, unfortunately, happened in the case 
of musical entertainments may, only too readily, 
happen in connection with magic ; unless, by con- 
sistent and conscientious effort on the part of magi- 
cians, a high level of artistic excellence be main- 
tained, prominently, in public view. 

Returning to our immediate subject, there is one 
point to w^hich, before concluding our remarks upon 
unity, we must refer. Notwithstanding the obvious 
accuracy of the rules we have deduced — or, perhaps, 
we should say because of that accuracy — we must 
not forget that, in accordance with rule i, there may 
occur special instances, wherein even the most im- 
portant laws of unity may be disregarded. Such in- 
stances, occur, chiefly, in connection with efifects 
which result from the operation of cumulative proc- 
esses ; and, therefore, may be more appropriately 
discussed later on. We shall revert to this matter 
when dealing with such subjects as "Justification," 
''Surprise," and "Repetition." 



CHAPTER IV 



CONSISTENCY 

In order of importance, the quality which, probably, 
ranks next to Unity, is that of Consistency. Indeed, 
it may be said that, apart from consistency, unity 
cannot exist. Still, the subject is sufficiently well 
defined to warrant its separate consideration. 

In relation to magic, the term "consistency" rep- 
resents a quality which may be roughly described 
as propriety in necromantic details. It implies a 
general harmony of the various processes, actions, 
speeches and appliances, with the scheme or mode 
of presentation with which they are associated. Its 
absence gives rise, undoubtedly, to sources of dis- 
traction; which, as we have seen, should be most 
carefully avoided, so far as may be possible. 

Here again, the importance of rule 2 is shown. 
Whatever details a performer may wish or require 
to introduce, these should all be subjected to most in- 
tent consideration, from a spectator's point of view. 
The supreme question must always be: — "What im- 
pression will the introduction of this detail produce 
upon the mind of an ordinary spectator?" No mat- 
ter how agreeable, or even necessary to the performer 
may be the inclusion of that detail, he should al- 
ways endeavour to understand how it will strike his 
audience. Such understanding is by no means 

43 



44 



OUR MAGIC 



easy to acquire. It can come only with experience 
and constant practise. This is a case wherein it is 
impossible to ''try it on the dog." The performer 
must, in the first instance, form his own conclusions. 
Nobody else can do much to help him in arriving at 
a decision. Above all, he must have the courage 
of his convictions, and must boldly take the course 
which his own reasoning-faculties and his own ex- 
perience dictate. 

In saying this, of course, w^e are assuming that 
the performer understands the radical principles of 
his art, and is not just making a blind guess at the 
thing. The man who has no accurate knowledge 
and who, therefore, works entirely in the dark, can 
scarcely be said to have the right to form any con- 
clusion whatever. But, when a magician under- 
stands his art, he should never allow his own reasoned 
convictions to be over-ruled by people who know 
little or nothing of the subject. Stated in a practi- 
cal form, the point is this. Persons attending a re- 
hearsal, be they employes, friends or what not, can 
never represent a normal audience. Their opinions 
can form no guide to the views of the average specta- 
tor. From the very circumstances of the case, that 
is clearly impossible. Should any of those persons, 
however, have an amount of knowledge and experi- 
ence comparable w^ith that possessed by the per- 
former, that person's opinion may be regarded as 
having some weight. But, even then, the performer 
must not be guided by mere opinion. He must de- 
mand adequate reason for any conclusion he may be 
urged to adopt. In short, given the possession of 



CONSISTENCY 



45 



real knowledge, he himself must be the final arbiter 
of his own procedure. Once a presentation has 
been submitted to public criticism, it is easy enough 
to see wherein improvement is needed. And, as a 
matter of fact, there is always found some minor de- 
tail which requires modification. But, in the hands 
of a true artist, no production ever needs serious re- 
vision after being presented to the public. That is 
one of the numerous directions wherein an artist 
^'scores." 

Given sufficient time, and unrestricted oppor- 
tunity for public representation, anybody can, eventu- 
ally, make his production a success; more or less 
qualified by repeated failure, in public, on previous 
occasions. That is to say, in the hands of a duf- 
fer, a ''magical act" may be rendered presentable, 
probably, by the time it has become hopelessly dis- 
credited and, in the normal course of events, should 
be entirely worn out. The artist who knows "the 
rules of the game" and, therefore, understands how 
to make his productions approximately perfect in 
the first instance, certainly has an advantage, the 
value of which is very difficult to over-estimate. 

In dealing with such questions, the performer can 
have no better guidance than that to be derived from 
the principles of consistency. And, in all points of 
detail, one may be fairly confident that, if each ac- 
tion, process and so forth, be appropriate to the 
general scheme, and does not detract from the final 
effect, there is little fear of producing an undesir- 
able impression. The general rule may be stated 
thus : — 



46 



OUR MAGIC 



(6) Let every accessory and incidental detail be 
kept well ^\cithin the picture'' and in harmony with 
the general impression which is intended to be con- 
veyed. 

For example, we will suppose that the presenta- 
tion is intended to convey the idea of a more or less 
serious reproduction of some legendary marvel, say, 
of a mediaeval English origin. In that case, every- 
thing said, done, and used, should harmonise with 
the ideas generally associated with that period in 
English History. So far as possible, everything 
should be arch^ologically correct. Anachronisms 
should be studiously avoided. Allusions to modern 
times and modern incidents, phrases of modern 
origin, appliances of modern pattern, should all be 
rigidly excluded. The general "atmosphere" of the 
presentation should convey the idea of glancing back- 
wards through the pages of history and dwelling, in 
imagination, among scenes that have long since 
passed away. 

That is, obviously, the rational course to pursue, 
in the case of a serious reproduction of mediaeval 
mysticism. When, however, the intention is to give 
merely a humorous representation, or parody of an- 
cient tradition, the requirements are altogether dif- 
ferent. In such circumstances, the more anachro- 
nisms one can introduce, the more inconsistencies of 
sentiment and usage one can £erpetrate, the greater 
the contrasts of time and place one can suggest, the 
better will be the result. But, even here, the princi- 
ples of consistency require to be observed. The 
presentation should be rendered consistently inconsisi- 



CONSISTENCY 



47 



ejit. The performer must not at one moment throw 
ridicule upon ancient ideas and methods and, the 
next moment, expect his audience to adopt a serious 
view of mediaeval magic. The spectators, of course, 
are always aware that the whole is "make-believe." 
They have to set aside their critical faculties in order 
to enter into the spirit of the thing. That, as a rule, 
they are perfectly willing to do, since all they want 
is to be entertained. They are ready to take any 
point of view the performer may suggest, and to 
imagine, for the moment, that the situation of affairs 
is precisely as the performer has stated. But, having 
"made believe" to that extent, it cannot be imagined 
that they w^ill be able to suddenly change their 
adopted point of view for another which is equally 
unsubstantial and entirely dissimilar, without hav- 
ing all their make-believe thrown to the winds and 
their critical faculties fully revived. No : in such a 
case, the performer's previous efiforts will have been 
wasted. The impression sought to be produced will, 
be entirely destroyed, and the spectators will revert to 
the attitude of commonplace scepticism they began 
with. They will have to commence their mental 
adaptation once again, upon an entirely new basis, 
and with the memory of their recently checked self- 
deception fresh upon them. Any procedure of this 
kind can only result in confusion and loss of effect. 

Conversely, if a purely modern conception be pre- 
sented, consistency demands that all procedure and 
all adjuncts shall be entirely modern in character. 
Were the performer suddenly to depart from his 
normal procedure, for instance, and adopt the style 



48 



OUR MAGIC 



of an ancient necromancer, he could never expect 
to be taken seriously. He would be laughed at, 
openly, by his audience if he entertained any such 
ridiculous notion. That kind of thing can only be 
done by way of burlesque. 

There is, however, one very effective method of 
combining ancient legends with modern ideas, 
which, in addition to the proof it gives as to the 
soundness of the principles of consistency, is ex- 
tremely useful in aiding the modern magician to give 
his conceptions a definite application. This con- 
sists in the supposed introduction of ancient magical 
traditions into the actual affairs of modern life, and 
the suggestion that the magical theory had a founda- 
tion in fact. Usually, the procedure is somewhat as 
follows : 

It is assumed that the magician has discovered 
some ancient charm, talisman, incantation or spell, 
with which he decides or is caused to experiment. 
On doing so, he finds that, apparently, the legendary 
powers attributed to the particular fetich in ques- 
tion are really genuine, and remain efficacious even 
in our own age of scepticism. The possibilities of 
magical and dramatic effect derivable from a situa- 
tion of this kind are, practically, infinite. This is 
a fact which has long been understood and frequently 
utilised in literature. But, strange to say, this 
magical idea has not been developed, to any great 
extent, in connection with the art of magic itself. 
In plays such as "Niobe," and 'The Brass Bottle," 
for example, this conception has provided a basis 
for valuable and artistic work. And, in relation 



CONSISTENCY 



49 



to magic, it presents facilities for introducing legiti- 
mate and convincing effects, which should by 
no means be neglected. An illusionary presenta- 
tion, conducted on such lines, may be rendered 
thoroughly satisfactory, with very little difficulty. 
The effects produced being, apparently, substanti- 
ated by the authority of early tradition, and the 
powers invoked having, as it were, descended from 
the age of miracles, all criticism as to sufficiency of 
cause is disarmed, at once. The sceptical attitude 
common to modern thought becomes entirely out of 
place, and quite irrelevant to the issues involved. 
Material scepticism becomes subdued to the in- 
fluences of that poetic and imaginative faculty 
which every man possesses, in a greater or less degree ; 
no matter how uncompromising may be his professed 
antagonism to anything beyond the bounds of plain 
common-sense. 

In this connection, however, as in all matters re- 
lating to art, it is necessary to guard against the 
ever-present danger of allowing originality to be 
overshadowed by the attractions of blind imitation. 
Indeed, it is conceivable that what we have said on 
this present point unless it be consistently read to- 
gether with the context, may eventually create a 
serious hindrance to the progress of our art. There 
is every reason to fear that, if one magician were to 
achieve a success with some particular development 
of this idea, that form of presentation would be 
generally regarded as the essential embodiment of 
the idea, from which no departure may be made. 
And, in answer to all criticisms, it would be said — 



OUR MAGIC 



''There is nothing to criticise. This is the very thing 
with which So-and-so has made so great a success." 

Therein we find typified the common fault which, 
hitherto, has debased the practice of magic, and has 
helped to prevent the elevation of magic to the status 
of a fine art. Until that fault can be corrected — 
until such slavish imitation of successful work be- 
comes a matter for general and honest condemna- 
tion, we must be prepared to admit that after all 
said and done, magic has not risen above the level 
of mere mechanical drudgery, the sort of work 
which is only undertaken by those who are incapable 
of doing anything better. 

This must not be! In itself, magic is a profes- 
sion which should yield pride of place to none other. 
It demands the highest abilities that humanity can 
bestow upon it. Magic w^ill never — can never — de- 
base its practitioners; but, unfortunately, history 
shows that, too often, magic has been debased by 
those who practise it. 

On this point the first essential to be insisted upon 
is this: The very fact that So-and-so has made suc- 
cessful use of certain methods and devices should, 
ordinarily, suffice to prevent all other magicians 
from presenting anything w^hich may be regarded as 
an imitation of So-and-so's work. If others can im- 
prove upon So-and-so's production, well and good. 
Let them exhibit their new devices; and show, 
clearly, wherein their improvements consist. All 
honour to them for so doing. But, if all they have 
to present is a bad imitation of So-and-so's work, or 
merely something which appears almost as clever. 



CONSISTENCY 



51 



let them keep such inferiorities to themselves. Or, 
if they must needs exhibit their inferior productions, 
let them admit their own inferiority, and give credit 
where credit is due. 

It is quite possible that this idea of translating an- 
cient conceptions into modern work-a-day life may 
become hackneyed. Should that occur, the magician 
who is a true artist would avoid that idea, as the 
devil is said to avoid holy water. When we find 
the majority of magicians actuated by such senti- 
ments we shall be in a position to assert, without fear 
of contradiction, that magic is, truly, an art. Until 
then, we must admit that the artistic status of magic, 
however provable it may be, has not been proved. 
Magicians generally must be content to earn mere 
money-grubbing profits, instead of gaining the fame 
and fortune to which they should aspire, by right of 
artistic merit. 

Among the most important considerations relat- 
ing to consistency, are those arising from the natural 
connection between cause and effect. In real life, 
every effect is produced by some appropriate and 
sufficient cause. We are aware that, in saying this, 
we merely repeat a childishly self-evident platitude; 
but there are reasons. Since, in real life, every ef- 
fect must have its cause, and every sufficient cause 
must produce its natural, effect, similar conditions 
should prevail in the mimic world of the stage. Un- 
fortunately, however, such is often very far from 
being the case. Too many persons appear to think 
that, because stage effects are necessarily artificial, 
the natural relationship between cause and effect can 



52 



OUR MAGIC 



be disregarded upon the stage. Events are, thus^ 
made to occur, without the slightest regard to at- 
tendant circumstances. The producer of an enter- 
tainment, very commonly, dictates the occurrence of 
an event, simply because he wants that event to hap- 
pen, and for no others reason whatever. He does 
not trouble himself as to whether or not, in the cir- 
cumstances revealed, that event would naturally 
happen, or might possibly happen. Not a bit of it! 
He wants that thing to happen and, for him, that is 
reason enough. Consequently, that thing is made to 
happen, no matter how inconsistent with previous 
events its occurrence may be. 

This is a fault which is extremely prevalent in 
modern stage productions, of every class. It is none 
the less reprehensible on that account. On the con- 
trary, the more often it is allowed to appear, the 
more culpable are those who permit such an obvious 
defect to exist in their presentations. Particularly 
so, because the fault is one that may be corrected 
with the utmost ease. Stage effects, being only ap- 
parently real, require only apparently sufficient 
causes; and such causes, undoubtedly, should be in- 
troduced in every stage production. The producer, 
of course, can do precisely as he likes in such mat- 
ters. Then, whenever he introduces an effect, let 
him, at the same time, introduce a valid cause. It is 
easy enough to do, and there is no excuse for neglect- 
ing to do it. The artificiality of stage work is al- 
ways bound to cross the footlights, in ample measure. 
The spectators are always sufficiently conscious of it, 
without having it rubbed in by unskilful workman- 



CONSISTENCY 



53 



ship. And, whenever stage-craft is divorced from 
consistency, especially in the relations between cause 
and effect, the result is bound to represent the rub- 
bing-in of a deleterious compound, already too liber- 
ally applied. 

From these considerations a general rule, of ex- 
treme simplicity, may be deduced: — 

(7) Let nothing occur without an apparently 
substantial cause, and let every potential cause pro- 
duce some apparently-consequent effect. 

If things occur without any apparent reason, 
stage work can never be made really convincing. 
If things be done which, although they seem likely 
to produce some marked result (and, by the audience, 
must be regarded as having that intention) do not 
lead to any result whatever, stage work can never be 
made really efifective. In the former case, there is 
a paucity of the necessary material. In the latter 
case, there is a redundancy of useless detail. In 
neither case is there the consistency which art de- 
mands; but, in both cases, there is bound to be dis- 
traction, loss of efYect, and lack of unity. 

That such points as these are of material impor- 
tance in the art of magic, cannot be denied by any 
magician who aspires to the rank of a true artist. 
It is just these little things which make all the dif- 
ference between good work and bad. They are but 
little things, easily attended to; yet, after all said 
and done, they are the things which distinguish art 
from clap-trap. To include them in a presentation 
adds but little more to the performer's efforts. 
Still :— 



54 



OUR MAGIC 



"And that little more, and how much it is . . . 
And that little less, and what worlds away." 

— Browning, "By the Fireside." 

The requirements of consistency, broadly speaking, 
may be summarised as follows: 

Everything done, used and introduced should be: 

(a) Consistent with the "atmosphere" of the pres- 
entation. 

(b) Consistent with each situation, as revealed. 

(c) Consistent with subsequent events. 
Everything that occurs should be — 

(a) Consistent with the procedure adopted. 

(b) Consistent with causes understood by the 
spectators. 

(c) Consistent with the final impression intended 
to be produced. 



CHAPTER V 



JUSTIFICATION 

From what has already been deduced in the course 
of our enquiry, we can perceive that since, on occa- 
sion,- specific rules may be disregarded, there arises 
a very pertinent question. How may we determine 
the extent to which, in various circumstances, a 
disregard of reasoned conclusions is permissible? 
Broadly speaking, of course, we may say that if we 
introduce details which are not in accordance with 
accepted rules, we must always be able to justify our 
action. In no case, must we be content with mere ex- 
cuses. To frame excuses is foreign to the procedure 
of an artist, because ^^qui s'excuse, s^accuse/^ His 
feeblest plea must never fall below the level of prov- 
able justification. Such obvious facts, however, pro- 
vide but little guidance. Therefore, we must now 
endeavour to ascertain, with reasonable accuracy, the 
conditions wherein justification may be proved. 

As stated in our first rule, no departure from ac- 
cepted principles should be made, without some 
special reason. Among such reasons, there is one of 
pre-eminent importance. That is, the production of 
some particular effect which, otherwise, would be 
impossible. The impossibility, however, should be 
clearly manifest. If, by any means, the production 
of that effect can be brought about in conformity 

55 



OUR MAGIC 



with established principles, no departure from those 
principles can be justified. In any such case, the 
only possible source of justification is absolute neces- 
sity. 

If such fundamental considerations were the only 
matters involved, the question of justification would 
be one of extreme simplicit}^ But, unfortunately, 
the case is far otherwise. In the majority of in- 
stances, justification cannot be pleaded on the ground 
of absolute necessity. Given the aid of every pos- 
sible facility, a magician could seldom justify the 
departure from the normal principles of his art. 
But, as a matter of fact, magicians usually perform 
under conditions of an extremely unfavourable na- 
ture. Therefore, we find, the most common ground 
for justification is not absolute necessity, but present 
expediency. Rules are broken, not because the effect 
produced demands their violation, but because cir- 
cumstances render such violation expedient. Thus, 
justification becomes subject to the force of circum- 
stances. At the same time, it must be remembered, 
valid justification can only exist when the force of 
circumstances is irresistible. 

Suppose, for example, a magician performing at a 
theatre where every facility is available, produces an 
act which is artistically perfect. Then, suppose that 
the magician be compelled to transfer his act to an- 
other theatre, where such favourable conditions do 
not exist; in order to produce his act at the second 
theatre, he may have to introduce some detail which, 
according to accepted principles, is inartistic. Or, 
he may have to omit some important detail, and, 



JUSTIFICATION 



thereby, render his presentation, artistically, incom- 
plete. In either case, his procedure can, undoubt- 
edly, be justified on the ground of expediency. He 
does as he does, not because of essential necessity, but 
because the force of circumstances is too great to be 
overcome. The obvious rule is: — 

(8) Always remember that avoidable defects are 
incapable of justification. 

This rule applies, equally, to great matters and to 
small. To broad effects and minute details. Al- 
though, in some particular respect, departure from 
accepted rule may be justified, it does not follow that 
the principle violated is thereby rendered negligible 
for the time being. On the contrary, the circum- 
stances demand that every care be taken to insure that 
the extent of departure shall be as limited as possible. 
Care should be taken to add every available perfec- 
tion, in other respects, with a view to compensating 
for the unavoidably defective procedure adopted. 
A specific rule may be stated thus : — 

(9) Always remember that a plea of justification 
is, ordinarily , an acknowledgment of error and, con- 
sequejitly, demands every possible reparation. 

That is to say, when one is obliged to fall back 
upon the aid of justification, one should use every 
available means for correcting any deficiency that 
may be brought into evidence. The greater the 
divergence from proper and efifective methods, the 
greater the necessity for compensating perfections. 
If we are compelled to introduce imperfections, they 
should be reduced to the utmost possible minimum, 
disguised in every possible manner, and compensated 



58 



OUR MAGIC 



for by the inclusion of every possible perfection of 
subsidiary detail. By such means, the inevitable 
fault may be rendered, practically, imperceptible. 

Herein we discover the reason why so many pro- 
ductions, inartistic in themselves, prove to be quite 
effective before an average audience. With knowl- 
edge derived from a process of trial and error, per- 
formers are enabled to disguise, to a great extent, 
the technical faults of their productions. Thus, in 
course of time, subsidiary perfections become so aug- 
mented as to render a very faulty presentation ac- 
ceptable to the general public. That, however, 
provides no justification for avoidable faults. How- 
ever good a faulty performance may appear to the 
uninitiated, it would appear still better were the 
faults removed. The majority of spectators may not 
know why the thing is better in its more perfect form. 
They may not understand the reasons which have 
dictated the alterations made. But the performer, 
at any rate, ought to know when his presentation is 
defective, and should understand how to remove 
avoidable defects. 

There are always two ways of doing anything: a 
right way and a wrong way. Any ignoramus can 
bungle about w^ith a thing until, eventually, he makes 
it pass muster among those who know as little as 
himself. But, even then, the thing will not be right, 
in the eyes of an expert. Anything done in the 
wrong way can never be really right in itself. The 
only advantage about it is that the wrong way does 
not have to be learned. It is available to all who 
prefer it; but, unfortunately, it does not lead to per- 



JUSTIFICATION 



fection. Not only so, it eventually leads to far more 
trouble than would be involved in learning the right 
way, first of all. 

Further than this, we must not lose sight of the 
fact that there is a question of principle involved. 
An artist prefers to work in the right way, if only 
to show that he knows how the work should be done. 
Even though some particular effect could be pro- 
duced in the wrong way, that would be no excuse for 
using faulty methods. 

The end cannot justify the means, if the proper 
means would serve as well as the defective means 
actually employed. For as Aristotle says : — 

^^If, indeed, this end might as well, or nearly as well, 
have been attained, without departing from the principles 
of the particular art in question, that fault, in that case, 
could not he justified; since faults of every kind should, if 
possible, be avoided.'* — Poetics, Part IV, Chap. II. 

To this, we may add that when, as is usually the 
case, the end may be attained more readily and more 
perfectly by adhering to the principles of our par- 
ticular art, there is not even a plausible excuse for 
defective workmanship. Indeed, the only possible 
excuse is ignorance. Those who prefer, by implica- 
tion, to raise that plea are, of course, quite welcome 
to that dubious privilege. An artist would rather 
suffer torture than do anything of the kind. ''Good 
enough for the public" is ample justification for de- 
fects which are difficult to overcome; but, when the 
observance of recognised principles would be just 
as easy, and just as effective, ''Good enough for the 



6o 



OUR MAGIC 



public" becomes the plea of either an ignoramus or 
a fool. In such an event, the performer may be per- 
fectly sure that he appears in one or other of those 
characters. If he be content to do so, well and good! 
That is entirely his affair. Our present inquiry does 
not concern him. For all that, we can see there is 
no justification for the attitude he has adopted. 

Although, as already mentioned, a magician's 
stage-surroundings are of prime importance in this 
connection, they are far from being the only ground 
for justification. The diversities of taste and appre- 
ciation shown by various types of audiences may, 
equally, justify some occasional divergence from 
normal procedure. This has been previously sug- 
gested by our deductions concerning the subject of 
unity. We may now, with advantage, develop the 
point still further. 

Taking a practical instance, we will suppose a 
magician intends to present, say, ^'The Rising Cards," 
and has at command two methods of performing that 
trick. One of those methods, let us say, is well 
known to magicians, but very effective to the public. 
The other method does not appeal to the public so 
strongly, but entirely puzzles magicians. In reality, 
of course, he has two distinct tricks, similar in effect. 
That fact would be understood by his fellow-crafts- 
men; but, to the public, either trick would be simply 
^'The Rising Cards." ^ Then the question is, which 
method should the performer employ? 

^ It must be remembered that, to the public — and unfortunately, to 
the general Press also — either the effect, or some prominent feature 
of a trick, is the trick itself. We commonly hear of "The Vanishing 
Lady," "The Box Trick," "The Cabinet Trick," "The Ghost Illusion," 



JUSTIFICATION 6i 



The answer must depend upon the kind of audi- 
ence with which he has to deal. To an audience of 
conjurers he would, naturally, present the superior 
method. The other would only bore his spectators. 
But to the general public, apart from some special 
reason to the contrary, he should present the more 
familiar, yet more effective method, less perfect 
though it be. To the public, either method would 
be quite inexplicable; and, therefore, there would be 
every justification for choosing that which appeals to 
the public more highly. Indeed, one might almost 
say that, in the circumstances, the use of the superior 
method would hardly be justified ; for the simple rea- 
son that it would fail to produce its due effect. 

In the practice of an art, one must always keep 
in view the fact that, in the absence of an effective 
appeal to the imagination, art is, to all intents and 
purposes, non-existent. It is true that a poet, a 
painter or a sculptor may produce a work of art 
which contemporary opinion may condemn, and fu-. 
ture ages may approve beyond measure. But, sup- 
pose that, disheartened by present failure, the artist 
were to destroy the work he had produced, the result 
would be precisely as though that work had never 
been attempted. It came into a momentary exist- 
ence; it made no appeal to the minds of those who 
saw it; and it disappeared completely. 

The work, however meritorious it may have been, 
was but wasted effort. It did not serve the cause of 

*The Slate Trick," and so on. Apparently, most people cannot 
imagine that more than one trick may be associated with a certain 
kind of effect, or a particular form of appliance. 



62 



OUR MAGIC 



art in the remotest degree. It was but ephemeral in 
its existence, and failed to evoke contemporary ap- 
proval. In short, it was useless. 

Precisely analogous, is the case of a magician who 
presents work which his audiences cannot appreciate. 
Apart from its presentation, the art of magic has no 
sensible existence. It is naturally ephemeral, and 
demands instant appreciation. 

Primarily, the true function of any art is not the 
promotion of its own advancement, but the promo- 
tion of enjoyment and the elevation of the intelli- 
gence of mankind. In performing such functions, 
its own advancement is automatically achieved. 
That being so, it must be useless to exhibit any 
ephemeral achievement in art which, to those who see 
it, is not effective. Such presentations have no artis- 
tic value. They can neither serve to raise the level 
of human intelligence, nor to promote human enjoy- 
ment. 

We have previously referred to the necessity for 
maintaining as high a level of merit as possible. But, 
at the same time, we have pointed out there is every 
reason for bearing in mind the natural limitations of 
certain audiences. By all means let people see good 
work — the best they are capable of appreciating — 
on every possible occasion. But work which is too 
good for them is, practically, as valueless as that 
which is not good enough. Within the capacity of 
a magician's audience, the higher he rises, the greater 
will be the appreciation accorded to his work. Be- 
yond that prescribed limit, however, the higher he 
rises, the less will be the value of his achievement. 



JUSTIFICATION 63 



It has been said, very justly, that every virtue is, 
as it were, a middle course between two opposite 
vices. Thus, courage is midway between cowardice 
and rashness; thrift is midway between acquisitive- 
ness and improvidence, morality is midway between 
prudery and licentiousness; and so forth. In like 
manner, justification stands half-way between the 
faults of pedantry, on the one hand, and the failures 
of ignorance, on the other hand. 

The rule should be : — 

(10) Cut your coat according to your clothy but 
spare no pains in the cutting, or your procedure can- 
not be justified. 

The foregoing considerations enable us to discuss, 
upon a more definite basis, the question of dual efifect, 
already mentioned in connection with the subject of 
unity. We can now readily understand that, in cer- 
tain circumstances, two simultaneous developments 
may be presented in such a manner as to justify the 
departure from the principles of unity. We can see. 
that justification may be proved, on various grounds 
of expediency. For example, one of the two mag- 
ical feats may add a climax to the entire presentation, 
and thus aid the general impression produced in the 
minds of spectators. Or, on the other hand, the de- 
velopment of one effect may involve certain periods 
of time which, to the public, would appear vacant, 
were they not filled in with the processes connected 
with the second effect. In any case, however, the 
dual presentation must not involve serious division of 
interest, or the total result will be neither artistic nor 
effective. We shall have to return to this subject 



64 



OUR MAGIC 



later on; and, therefore, we need not consider it 
further at present. 

We may conclude our remarks upon justification 
by summarising the rational conclusions to be de- 
duced from the facts stated. There is no need for 
recapitulating all the minor points we have reviewed. 
It is only necessary to emphasise the main features of 
our enquiry, as follows: 

In order to know what ma}^, or may not be justi- 
fied, it is essential to acquire an understanding of the 
purposes of art, and the manner in which those pur- 
poses can best be fulfilled. Hence the importance of 
systematic enquiry and the need for accurate reason- 
ing. Every instance wherein justification has to be 
claimed represents a special problem, requiring to be 
dealt with in accordance with the facts of the case. 
The true solution cannot be arrived at by the aid of 
mere opinion. The only reliable source of evidence 
is knowledge. That which serves the purposes of 
art in the best manner available, is justified. That 
which does not so serve the purposes of art, is in- 
capable of justification. 

We argue that, in everything he does, a magician 
should be able to demonstrate the grounds upon 
which he claims that the procedure is either artistic- 
ally correct or absolutely jus^tified. To an artist, 
"good enough" is never good enough. His work 
must be correct; or, failing that, as nearly correct as 
circumstances permit. 



CHAPTER VI 



SURPRISE AND REPETITION 

We now proceed to deal with two diametrically op- 
posite methods of producing efifect, each method 
being the converse and complement of the other. 
Upon reflection it will become evident that, as a 
rule, the effect produced by a magical presentation 
depends upon the proper employment of one or other 
of the two principles now to be considered. In other 
words, a magical effect is generally associated with 
some form of surprise', or is derived from some de- 
gree of repetition. Since the principles involved in 
those two methods of procedure are mutually antag- 
onistic, they can seldom be used in combination. 
Although a certain element of surprise may enter 
into the cumulative effect produced by repetition, 
it is clearly impossible to repeat a startling surprise. 
These examples may best be illustrated by concrete 
examples, familiar to us all. Then we will at once 
quote examples which we think will serve to make 
our reasoning clear. It must be borne in mind, how- 
ever, that this present discussion has to be taken in 
conjunction with that which follows next — e., the 
subject of "Gradual Transition.'' 

As our first example, we will take a well-known 
effect, depending upon the creation of surprise. 
For this purpose, nothing could serve better than 

6s 



66 



OUR MAGIC 



the illusion known as ^'The Vanishing Lady," in- 
vented by Buatier de Kolta, reproduced by various 
other magicians, and consistently mangled, for years, 
by duffers of every nationality. The ''dry bones" 
of this feat, as Professor Hoffmann would say, are 
familiar to us all. So also is the effective nature of 
the presentation, when properly carried out. 

If we give even a moment's thought to the ques- 
tion, we realise the impossibility of associating such 
a feat with anything in the nature of repetition. 
The effect produced is bound to be either a surprise 
or a disappointment. If the performance does not 
culminate in a surprise it becomes an abject failure 
— "condemned to eternal redemption," as Dogberry 
says. No man who ever stood before an audience 
would be so mad as to repeat it, in the hope of doing 
better next time, and thus saving his credit. The 
audience would simply laugh him off the stage in 
such a case. 

Herein, we perceive the characteristic feature of 
such presentations. They depend upon the sudden 
creation of some mysterious change of condition or 
change of place. The effect must be instantaneous. 
There is no opportunity for cumulative methods of 
building up an effect, step by step. 

Incidentally, the preceding paragraph suggests a 
general definition of the characteristic feature of any 
magical feat — that which distinguishes magical ef- 
fects from those produced by other arts. Probably 
no better definition than this can be found — Some- 
thing or somebody is caused to pass mysteriously from 
one place or condition to another. That is what in- 



SURPRISE AND REPETITION 67 



variably happens when a magical feat is performed. 
We cannot do any single magical thing which that 
sentence does not, broadly, describe. In view of this 
definition, we are led to appreciate the essential limi- 
tations of the magic art. And, at the same time, we 
are impressed with the necessity for knowing the best 
means for utilising the scanty material at our dis- 
posal. The difficulty of producing a new magical 
effect is about equivalent to that of inventing a new 
proposition in ^'Euclid." That, however, is a mat- 
ter for congratulation, rather than otherwise. The 
greater the difficulty, the greater the merit. It is a 
fact which should add much to the dignity of our 
art. In our present enquiry, the most important 
point to be remembered is this: Realising the ex- 
treme difficulty of raising any worthy superstructure 
upon foundations so narrow, we have every reason to 
be careful in our architecture. 

Turning to the second principle under discussion 
we may quote, for example, the well-known feat of 
catching coins in the air. In a performance such as 
this, it is evident that the element of actual surprise 
is practically absent. The mere fact of apparently 
catching a coin, once only, would produce no effect 
at all. In itself, the feat is so small, as compared 
with magicians' other works, that it would leave even 
the most unsophisticated spectator quite unimpressed. 
But, by repeating the process again and again, spec- 
tators become gradually imbued with a sense of 
mystification. There is no surprise — there can be 
none; because, every time the performer raises his 
hand, the catching of a coin is foreseen. Yet, as time 



68 



OUR MAGIC 



goes on, the spectators are compelled to form the 
mental query — "Where in the world does he get all 
those coins?" The more of them he produces, the 
greater is the effect upon his audience — within due 
limits of course. No true artist would ever be guilty 
of continuing his repetitions to the point of weari- 
someness. 

In this typical instance, we recognise the charac- 
teristic operation of the principle of repetition, and 
the method of utilising that principle for the pro- 
duction of a cumulative effect. We can see that, in 
performing a small manipulation as an isolated oc- 
currence, the principle of surprise cannot possibly be 
brought into operation. But, by continued repeti- 
tion of that insignificant feat, one is enabled to build 
up an impression of magical achievement, the mag- 
nitude of which is out of all proportion to the cause 
which produced it. 

Thus, ^YQ may safely lay down a rule to the fol- 
lowing effect: — 

(ii) Always remember that a notable surprise is 
incapable of repetition; and that the repetition of an 
effect, of any kind whatever, cannot create surprise. 

As a further example of the cumulative effect to be 
gained by repetition, we may here point out the well 
known efficiency of a "catch-phrase," as a means of 
attaining effect. There is no walk of life in which 
the catch-phrase is not a factor of, at least, occasional 
importance. Even in matters which afTect the pub- 
lic welfare it is often exploited in a manner so puerile 
and so vulgar that, to anyone who understands the 
game, the process becomes absolutely disgusting. 



SURPRISE AND REPETITION 69 



Still, as a means of legitimate entertainment, and in 
the honest fulfilment of artistic purposes, the catch- 
phrase has merits which should not be neglected. 
Take, for instance, Dr. Lynn's "That's how it's 
done!" or Buatier de Kolta's 'Tsn't it wonderful?" 
Those phrases have become classic. They have done 
yeoman's service, not only to their respective authors, 
but also to many lesser men, who have adopted the 
phrases — generally without either permission or 
acknowledgment. The first time such a phrase is 
used, it has little effect, if any. The second time, 
it receives just a mild appreciation. The third time, 
the audience may smile. The fourth time, the words 
cause a laugh. The fifth and all subsequent repeti- 
tions create a roar. 

There we have in a nutshell, all requisitive proof 
as to the value of cumulative effect. At the same 
time we are enabled to understand the broad distinc- 
tion to be drawn between the respective applications 
of surprise and repetition. We are also enabled to 
understand the cogency of a general rule, which may 
be stated thus : — 

(12) A minor conception ordinarily demands the 
cumulative effect of repetition; a conception impor- 
tant in itself should, usually, create a distinct sur- 
prise. 

Here we may revert to the question of dual pres- 
entation, previously discussed. Although the antag- 
onistic elements of surprise and repetition can 
scarcely be combined to produce a single effect, we 
may readily combine them in a presentation which 
comprises a dual effect. And, beyond doubt, that 



70 



OUR MAGIC 



may be done, not only without confusion, but also 
with a marked amplification of the impression cre- 
ated. 

From these considerations, the following rule may 
be deduced : — 

(13) The simultanecus presentation of two inde- 
pendent feats is permissible when one of them is asso- 
ciated with cumulative effect and the other results in 
a final surprise. 

When we think about the matter, it certainly seems 
rather strange that, although one may have heard a 
full description of some magical or dramatic sur- 
prise, such foreknowledge does not detract appre- 
ciably from the impression one receives on witness- 
ing the performance. Even though one may have 
witnessed a play or a magical production many times, 
one does not altogether lose the impression intended. 
Commentators have frequently noted this, in relation 
to dramatic performances ; and, no doubt, the true 
explanation is that originally given by Marmontel in 
1787. He says, in his quaint, old-world French — 
^'ha marche de Faction en e carte la reminifcence: 
^impression de ce que Von voit empeche de reflechir 
a ce que Von fcait/^ We are too much absorbed in 
the action to think of previous information. What 
we see prevents us from reflecting upon w^hat we 
know. 

A guiding principle adopted by the late Buatier 
de Kolta may here be mentioned, with advantage. 
On many occasions, de Kolta and one of the present 
writers had animated discussions upon this and simi- 
lar points. One of his most definite and unalterable 



SURPRISE AND REPETITION 



opinions was that, if an audience had any idea of 
what was about to happen, there could be no surprise 
and, consequently, no effect could be made upon the 
minds of spectators. ''An illusionist," he would 
often remark, "should never tell the public what he 
is going to do. If people know what is coming, 
they will not be surprised. If they are not surprised, 
there is no effect. The illusion is worth nothing — it 
ts nothing." 

In one sense, probably, de Kolta was right; but, 
regarded as a general principle, his view of the ques- 
tion- is open to serious doubt. His argument was 
based upon premises far too narrow. Given ideal 
conditions, of course, the position he took would be 
unassailable; but, in everyday life, an abstract prop- 
osition of that kind has very little relation to the 
exigencies of practice. With all due deference to 
the opinion of a magician so eminent as Buatier de 
Kolta, we contend that, in practice, one's procedure 
must be governed to a great extent by expediency. 
We have already shown that hard and fast rules can- 
not be prescribed in any branch of art. Contingent 
circumstances must always be taken into account. 
Theory, reduced to practice, is a useful guide — but 
nothing more. Divorced from practice, theory be- 
comes a mere will-o'-the-wisp, the pursuit of which 
is but waste of time for the average man. 

The essential fallacy of the principle just now dis- 
cussed may be readily shown by de Kolta's own pro- 
cedure. When, for instance, an illusion is described 
as ''The Vanishing Lady," or "L'Escamotage d'une 
Personne Vivante," how can one hope to conceal the 



72 



OUR MAGIC 



fact that the lady will vanish or that the living per- 
son will be subject to jugglery? The title itself pre- 
vents any such possibility. Yet, at the same time, 
the title provides more than half the attraction ex- 
ercised upon the public. It would be absurd not to 
make the revelation which, unavoidably, has to be 
made before complete success can be achieved. 

There is, however, one direction in which, as 
previously indicated, this principle may be usefully 
applied. Marmontel gives us the key to this, in the 
quotation we have made from his writings. The ac- 
tion in progress before the spectators is that which 
mainly determines the impression produced. Pre- 
vious knowledge or information can have but little 
influence on the final result. A really artistic pres- 
entation will so largely absorb one's attention that 
the existence or absence of foreknowledge becomes, 
comparatively speaking, a negligible factor. Thus, 
there is obviously much reason for avoiding, so far 
as circumstances permit, the immediate revelation of 
what is coming. In fact, from the various points 
recently considered, we may evolve a rule of some 
occasional importance: — 

(14) Unless good reason can be shown, never ex- 
plain, UPON THE STAGE, precisely what you are about 
to accomplish. 

In effect, this rule represents the true application 
of de Kolta's advice. ''Unless good reason can be 
shown" — therein lies the whole crux of the matter. 
But, very often, good reason can be shown. At 
times, indeed, it would be the height of folly for a 
performer not to explain, most fully, the precise de- 



SURPRISE AND REPETITION 



tails of the effect he is about to produce. A case of 
this kind, for instance, would arise when the effect 
is small in actual dimensions, but very startling if 
completely understood. Every one of us can call to 
mind effects which, unless explicitly described be- 
forehand, would never be thoroughly appreciated. 
An illustration of this fact is the decanter and hand- 
kerchief trick, wherein a handkerchief suddenly dis- 
appears from one glass vessel and reappears in an- 
other. The common experience of every magician 
will prove that such a presentation loses nothing by 
describing the effect beforehand. On the contrary, 
the small dimensions of the articles employed may be 
said to necessitate a complete disclosure of the com- 
ing events, in order to secure their immediate appre- 
ciation. 

Again, in the case of a highly-important and sen- 
sational illusion, demanding close attention on the 
part of the audience, one may often be well advised 
in making a theoretically premature revelation of 
one's intentions. When everybody in the civilised 
world has heard all about the thing, there may not 
be much disadvantage in taking the present specta- 
tors into one's confidence. They know what is 
coming, and the effect may perhaps be greatly en- 
hanced if they are told exactly what to expect. In 
certain cases of this kind, it is true, the performer 
might produce unqualified surprise in the first few 
audiences to whom he presents the effect. But, after 
that, such surprise becomes impossible. The news- 
papers have given full descriptions of the per- 
formance — the wires and cables have spread the 



74 



OUR MAGIC 



information broadcast, throughout the world. Con- 
sequently, the moment he begins his introduction, 
''even the cats" know what is coming. Among the 
whole crowd of spectators, the only point of interest 
is to "see it done." 

Conclusive proof of the occasional necessity for 
complete disclosure of what is about to take place, 
is provided by such presentations as that of the 
world-renowned "Box Trick." The very essence of 
the effect consists in the fact that spectators are fully 
informed of what is intended to be done and are al- 
lowed to try to discover the means whereby the feat 
w^ill be accomplished. Without such foreknowledge 
and opportunity for previous investigation, the effect 
would be lost. They are told that a performer will 
escape from the box, in spite of the bonds with which 
it will be secured. They are told that the feat is 
performed by means of a trick in the construction of 
the box. They are invited to discover that trick, if 
they can. Having failed to make such discovery, 
their amazement when the feat is subsequently ac- 
complished is unbounded. In no other way could 
the full eflect of the invention be attained. Com- 
plete premonition is the only possible means for se- 
curing due appreciation of any such performance. 
Reticence, in a case of this kind, would be simply 
fatal to the ultimate effect and, therefore inartistic 
to the last degree. Then in such a case the per- 
former's best course, surely, must be to emphasise 
the salient feature of his presentation, and to impress 
upon his audiences the extraordinary nature of the 
thing he intends to show them. 



SURPRISE AND REPETITION 



In this, of course, as in all other matters, one's 
procedure must be governed by circumstances. But 
we may safely say that, nine times out of ten, when 
a performer presents an illusion of world-wide re- 
nown, he can lose but little, and may gain much, by 
openly confessing his intentions. At such a time, his 
attitude towards the public, for all practical pur- 
poses, may safely be — ''I am going to show you 
something which has startled the world, and would 
startle you immensely if you did not know what is 
coming. When you have seen it done, you will be 
able to imagine how much you would have been sur- 
prised if you had not already heard about it." In 
response to that suggestion, the audience is almost 
certain to adopt an acquiescent attitude of mind; 
and, accordingly, the final effect will resemble that 
produced by absolute surprise. 

It is owing to similar causes that dramatic situa- 
tions such as that relating to ^'Hawkshaw" remain 
thoroughly impressive, even to those most familiar 
with them. Familiarity does not breed contempt, 
because the action in progress diverts the spectator's 
attention from what he knows, and renders him in- 
terested only in ''seeing it done." He is compelled 
to enter into the spirit of the performance, and to 
allow full play to his imagination. 

The last sentence forcibly recalls an opinion which 
the present writers have long entertained, and which 
can do no harm if stated. At the worst, it can but 
cause a momentary digression. It relates to the 
definition of art in the abstract. In the early portion 
of our enquiry, we touched upon the great difficulty 



76 



OUR MAGIC 



of answering, and the numerous attempts made to 
answer, the question — ''What is Art?" To make an- 
other attempt may be to display unjustihable temer- 
ity, but here it is: A^'t is work which stimulates im- 
agination. Be that as it may, however, there can be 
no doubt that it is the exercise of imagination which 
prevents an artistic effect from being destroyed by 
foreknowledge. A fact well worth remembering. 



CHAPTER VII 



EFFECTS OF TRANSITION 

In addition to the two chief classes of effect, re- 
spectively associated with surprise and repetition, 
there is a third, to which reference has been pre- 
viously made, the class which depends upon the 
gradual and visible development of some mysterious 
change. A typical example is the so-called "Pep- 
per's Ghost" effect, invented by Silvester some 40 
years ago. Another familiar type is that of "The 
Growth of Flowers." But there can be no possi- 
bility of mistaking the classification of such effects 
as should be placed in this category. They are 
characterised by the distinctive feature of compara- 
tively slow progression, in contrast to the sudden ef- 
fects associated with the methods of surprise. 

Although less often employed than the two chief 
classes of magical effect, the effects of transition are 
by no means of less importance from an artistic point 
of view. Indeed, owing to the mere fact of their 
comparative rarity, they appeal strongly to an artist's 
appreciation. They should be less liable to become 
hackneyed, and the difficulty of inventing novelties 
in connection with them should enhance their value 
as a class. 

Unfortunately, however, such is far from being 
the case in actual practice. It ought to be so, but it 

77 



78 



OUR MAGIC 



is not. In this, as in so many other instances, ^'ought 
stands for nought." The very rarity of original pro- 
ductions of this, kind, tends to defeat its own ends. 
There are so few of them, and so many want to pre- 
sent them, that a new effect of transition is liable 
to become w^orked to death in a very short time. 
Further, it must be remembered that a rare efifect 
usually creates a far greater degree of public excite- 
ment than one of more stereotyped form. It is more 
talked about, more people come to see it and, thus, 
it more quickly becomes stale. Nevertheless, in this 
class of effect, there still exist great possibilities, both 
artistically and financially. There is still a wide 
field of useful work in this direction, which may be 
found well worthy of cultivation. 

In illusions based upon effects of transition, the 
question of artistic treatment is of especial impor- 
tance. Indeed, now and then, the problem of pre- 
senting them in the best possible way to insure due 
appreciation is one of extreme difficulty. The in- 
stant appeal to a spectator's perception which, nat- 
urally, attends a surprise is entirely lacking. The 
cumulative effect built up, step by step, in the case of 
a repetition, is equally unavailable. It follows, 
therefore, that the adequate presentation of an effect 
of transition usually involves, in some respect or 
other, procedure which differs more or less from that 
which would be advisable in other conditions. We 
will endeavour to ascertain, with the aid of common 
sense and practical experience, the nature of the prin- 
ciples which should govern our procedure when 
dealing with effects of this special class. 



EFFECTS OF TRANSITION 



Here we may, at once, set down a rule which com- 
mon sense and experience must inevitably endorse 
to the fullest possible degree. Yet, at the same time, 
unless the dictates of those able guides be clearly 
understood and remembered, the principle underly- 
ing that rule may easily become lost to sight. Hence 
the necessity for a definite statement, as follows : — 

(15) When presenting an effect of pure transi- 
tion, the first and most important essential is the 
avoidance of every possible cause of distraction. 

Let there be no mistake about this. Although the 
rule is merely a specific application of the principle 
embodied in rule 4, the extreme importance of that 
principle in the present instance justifies the utmost 
insistence upon the necessity for keeping it in view. 
Stated plainly and simply, the fact to be remembered 
is that, while an effect of transition is in progress, 
nothing else of importance should be allowed to oc- 
cur. That is to say, nothing which tends to produce 
a definite impression upon the minds of the specta- 
tors. There should be no sudden change in any of 
the conditions attending the development of the 
effect. Only such movements and sounds as accom- 
pany the commencement of the transition should 
be permitted to occur; and, conversely, such sounds 
and movements should continue until the effect has 
been completed. 

For example, an accompaniment of soft and flow- 
ing melody is a most useful adjunct to effects of tran- 
sition. Rhythmic and continuous movements on the 
part of the performer — as, for example, mesmeric 
passes or silent incantations — are also advantageous, 



8o 



OUR MAGIC 



as a rule. But, if such adjuncts are to be employed, 
they should accompany the transition from start to 
finish. The only case in which a departure from the 
letter of this law is advisable, is when the effect 
occupies but little time and culminates in a definite 
surprise. Say, for instance, on the stage there were 
a table with the cloth laid for a meal. The centre of 
the cloth rises and, gradually, the figure of a man 
develops beneath it. The figure throws ofl the cloth 
and stands revealed, let us say, as Mephistopheles. 
In such a case, the final throwing ofi of the cloth 
brings a sudden revelation, a surprise. Conse- 
quently, during the development of the figure, move- 
ments and exclamations, directing attention to what 
is happening, may advantageously accompany the 
progress of affairs, and may render the climax all 
the more efifective. Therefore, we may say: — 

(i6) When an effect of transition ends with a 
sudden revelation or surprise, the course of transi- 
tion should usually he punctuated by actions or 
sounds leading up to and accentuating the final im- 
pression. 

Reverting to rule 13, which relates to effects, 
purely, of transition, there is one consideration which 
should not be overlooked. It is a point which in- 
dicates the essentially different conditions respect- 
ively associated with transitions pure and simple, and 
transitions culminating in an effect of surprise. In 
effects of simple transition, such as the gradual fad- 
ing away of a spirit form, there is an absence of any 
marked change such as is generally associated with 
magical presentations. Therefore, without some 



EFFECTS OF TRANSITION 8i 



prompting of their inteliigence, the spectators may 
fail to observe the commencement of the process, or 
may be unable to realise precisely when it has ended. 
One can never count upon the exercise of either in- 
telligence or perspicacity on the part of an audience. 
So, unless steps be taken to indicate, definitely, w^hat 
is the nature of the intended effect, and to point out 
precisely where it begins and where it ends, a transi- 
tion, however marvellous, may fall flat. The specta- 
tors may realise the truth of the matter after they 
have gone home, but that is not good enough for ar- 
tistic purposes. They must, if possible, be made to 
understand what they see, the moment they see it. 
For these reasons, we may advisably prescribe the 
rule that : — 

(17) In every effect of pure transition, the be- 
ginning and end of the process involved should be 
distinctly indicated by some coincident occurrence. 

That is to say, when such an effect is about to be 
introduced, its presentation should be subject to most 
careful preparation. It should be prefaced by stage 
business which will impress upon spectators the fact 
that something of a very unusual character is about 
to happen. Their minds should receive the impres- 
sion that a weird and mysterious effect, demanding 
close attention, is on the point of being shown. And, 
at the moment when transition commences, there 
should occur a definite halt in the subsidiary action, 
a distinct point of demarcation, showing that the in- 
teresting period has begun. In like manner, at the 
end of the transition, there should be a similar or, 
rather, a converse break in the proceedings, showing 



82 



OUR MAGIC 



that what the audience was specially required to ob- 
serve has been done. Ordinarily, the most suitable 
stage business for these two respective occasions is, 
in effect, such as will suggest the following ideas. 
When the transition begins, the idea suggested 
should be, ''Look! something mysterious is going to 
happen over there. What will it be?" When the 
effect has been shown, the suggestion should be— 
"Now you know what was coming, because you have 
seen it done and have watched the process from be- 
ginning to end." 

As an apt illustration, we may mention the appear- 
ing to Hamlet of his father's ghost. The previous 
dialogue has fully prepared the spectators for what 
they are about to see. Indeed, Hamlet has gone to 
the battlements for the express purpose of meeting 
v/ith the spirit form of his father. All are expect- 
ing the ghost to appear. What happens, so far as 
our present inquiry is concerned, is given by Shake- 
speare in two exclamations and a stage-direction, 
thus : — • 

"Horatio — Look, my lord, it comes I 

{Enter Ghost.) 
"Hamlet — Angels and ministers of grace, defend us!" 

Now, translating "Enter Ghost" as meaning the 
gradual materialization of a spirit form, we cannot 
help seeing how well the two exclamations serve 
their respective purposes. Horatio directly calls at- 
tention to the misty outline in course of formation; 
and, when the development has matured, Hamlet's 
words leave no doubt that the figure now standing 



EFFECTS OF TRANSITION 83 



before him represents the fulfilment of his expecta- 
tion, and also that of every onlooker. There is no 
possibility of mistaking the situation. The effect is 
complete. Nobody can possibly anticipate any 
further development, for the moment. 

Reduced to their most practical form, the facts 
of this present discussion may be stated thus : When 
effects of transition are presented, the audience must 
be shown when to look, where to look and when to 
applaud. If left to discover those things for them- 
selves, spectators may almost certainly be expected 
to fail in the discovery. Nine times out of ten, spec- 
tators cannot be relied upon to see things which stare 
them in the face, or to understand things which are 
as simple as A B C. This is a fact to which some 
exponents of magic owe a lifelong debt of gratitude; 
since, but for that fact, they could never hold up their 
heads in public. And to speak the entire truth, it 
is a fact in which even the most skilled magicians 
find comfort when things go wrong. 

But we cannot have it both ways. We cannot ex- 
pect the public to keep a bright lookout for things 
we want them to see, and, at the same time, preserve 
their normal blindness to the things we want to con- 
ceal. The art of magic essentially depends for its 
success upon the skilful manoeuvring which enables 
a performer to subdue the critical and observant 
faculties of his audiences. The subjugation of those 
faculties is the first necessity imposed upon him by 
his art. After that comes the process of suggestion, 
-whereby his audiences are led to adopt the particu- 
lar attitude of mind he wishes them to assume at any 



84 



OUR MAGIC 



moment. It naturally follows that, when we have 
lulled a spectator's reasoning powers into a state of 
comparative rest, it is absurd to expect that he will 
at once grasp any idea which, in the ordinary course, 
would occur to him. We must always remember 
that, having induced a marked condition of mental 
receptivity, we cannot expect our subjects to con- 
ceive ideas other than those we convey, either di- 
rectly or by suggestion. It is impossible that, at 
one and the same time, spectators can think as 
we want them to and also think as they ordinarily 
would. Such being the case it is easy to see how 
necessary it is to make everything clear to one's audi- 
ence; even though, in order to do this, one may some- 
times be compelled to state exactly what is about 
to take place. 



CHAPTER VIII 



CLIMAX 

This branch of our enquiry brings us to a point 
where we meet with a distinct difference between 
the respective requirements of Magic and Drama. 
We find that, in this instance, the two sets of condi- 
tions are entirely dissimilar. Therefore, except by 
way of antithesis, the considerations which govern 
one case, form no guide to rational procedure in the 
other. But, at the same time, this very divergence 
provides a source of useful information. We gain 
a better understanding of our own art, if we ascer- 
tain the differences which distinguish its require- 
ments from those of an art more or less allied to it. 
Thus, we may, with advantage, make a brief digres- 
sion from our direct course, in order to study "cli- 
max" from a dramatic standpoint. By so doing, we 
shall obtain a truer conception of the principles re- 
lating to our own particular case. 

Broadly speaking, the primary basis of drama con- 
sists in the fulfilment of two vitally essential require- 
ments, each exactly complementary to the other. 
The play which fails to achieve such fulfilment must 
fail entirely. In the first place, a dramatist has to 
create and sustain interest. In the second place, that 
interest must be fully satisfied. If he cannot interest 
his audience, his play is obviously hopeless. If, hav- 

85 



86 



OUR MAGIC 



ing interested his audience, he cannot satisfy the in- 
terest he has aroused, his play is worthless. There 
can be no object in putting on the stage anything that 
leads to nothing. The play which merely creates an 
interest to thwart it cannot have any pretension to 
artistic merit. The pretended art which provides no 
mental satisfaction is but a travesty of art. 

Then, since the drama undoubtedly requires both 
the creation and satisfaction of interest, we clearly 
see that the subject of ^'climax" has a most impor- 
tant relation to the adequate treatment of dramatic 
themes. It is impossible, simultaneously, to create 
and satisfy dramatic interest. The two processes 
must be distinct, and must be carried out in proper 
order. And between the two there lies the crown- 
ing point of expectancy — the climax of the play. 
The creation and development of dramatic interest 
represent a crescendo of efifect, the highest point of 
which constitutes the climax. Then follows the sat- 
isfaction of dramatic interest, the unravelling of that 
tangled thread of events. Thus, the climax of a play 
consists in a dramatic situation, the genesis of which 
has been revealed by previous events, and the su- 
preme interest in which depends upon the suspense 
and expectation induced in the minds of the specta- 
tors. It is a situation in which no sense of finality 
can possibly exist. In order to bring about finality 
the situation must be resolved and rounded off, in a 
manner which shall relieve the suspense and satisfy 
the expectations of the audience. 

Now, in a magical presentation, the case is far dif- 
ferent. It is true that the magician, equally with 



CLIMAX 



87 



the dramatist, must both excite and satisfy the in- 
terest of his audience. But, whereas the dramatist 
deals with conceptions and processes of a nature 
familiar to all men, and the magician's doings are 
entirely remote from normal experience, certain dif- 
ferences in procedure are obviously requisite in the 
respective cases. The most notable difference is 
that, in dramatic work, the satisfaction of the in- 
terest created follows after the climax has been 
reached; while, in magic, the climax of events and 
the satisfaction of interest occur simultaneously. 
The dramatist's audience is interested in witnessing 
events which occur in accordance with normal ex- 
perience, and which must be made to result in a more 
or less normal completion of the theme to which 
they relate. The magician's audience, on the con- 
trary, is interested in witnessing events which have no 
relation to common experience, and can have no such 
emotional qualities as those associated with normal 
occurrences. In this case, the interest aroused is 
not that of witnessing the vicissitudes of human ex- 
istence, but of witnessing operations performed, at 
will, by a being who possesses a power far beyond 
one's own. Therefore, the magician's audience is 
not called upon to sympathise with human emotions, 
but to take an interest in things which are entirely 
out of the common, and in events which are only in- 
teresting from the fact that they occur. So, in magic, 
the actual climax must necessarily represent finality. 
The climax comes when the magical event occurs; 
and, at the same time, the occurrence of that event 
entirely satisfies the expectation aroused. 



88 



OUR MAGIC 



From what has been said, it will be readily under- 
stood that the climax of a magical presentation de- 
mands even more careful consideration than the cli- 
max of a drama; because, in magic, the climax is 
also the completion. If the climax be not efficiently 
contrived, the completion must be inadequate. The 
final result must be imperfect. Thus a magician's 
stage business must be so organised that the procedure 
which leads to the final effect of a presentation shall 
fully develop a constantly increasing interest; while, 
at the same time, due attention must be paid to the 
fact that the climax of interest and the satisfaction 
of interest have to be brought about, simultaneously. 
That is to say, the magician, in leading up to his 
final efifect, must bear in mind two points of radical 
importance. Firstly, he has to arrange the details 
of his procedure in such a manner that, as the climax 
approaches, the audience shall be compelled to an- 
ticipate remarkable results and, secondly, he must 
take especial care to guard against the production 
of an anti-climax. 

The first of those two points is obviously impor- 
tant, and the mode of presentation whereby its ob- 
servance may be insured is easily understood. The 
second point, however, concerning the avoidance of 
anti-climax, may not be grasped so readily. In order 
to understand it fully, one must first of all know what 
constitutes an anti-climax, and the reason why it is so 
detrimental to success. That knowledge having been 
gained, one may prescribe preventive measures, of 
an efficient character. 

Then, what is an anti-climax? It is a thing 



CLIMAX 



89 



people often talk about as though its nature were 
commonly understood. In a sense, most people 
have an idea of the true meaning of the term, though 
it is very doubtful whether one person in a thousand 
could give a rational definition of it, or explain the 
detrimental quality it represents. Yet, unless this 
be done, it is impossible to talk sensibly on the sub- 
ject; and, therefore, we must endeavour to arrive at 
the proper definition, and provide the necessary ex- 
planation. 

In itself, the term ^'anti-climax" suggests a general 
definition of its meaning which, although m.ore or 
less correct, is far too vague to be of any practical 
value. It is obviously something which opposes the 
creation of an effective climax; and, as usually un- 
derstood, it is something which occurs after the real 
climax has been produced. Beyond this, neither the 
term itself, nor the ideas usually associated with it, 
can be said to convey any definite information. 
Something more is wanted to enable one to speak with 
authority upon the subject. 

We may take it that an anti-climax is an event 
which occurs after the true climax has been reached, 
and, thus occurring, detracts from the effect of a pres- 
entation. Now, there are only two possible sources 
from which such distractions can be derived. Either 
the climax is not complete in itself, or some new sub- 
ject of interest is introduced afterwards. 

On thinking this out, we arrive at the real nature 
of an anti-climax. It is an occurrence derived from 
either unsatisfied or redundant interest. The cli- 
max has not been efficiently engineered, or is marred 



90 



OUR MAGIC 



by faults in the subsequent procedure. In short, the 
effect does not end where it ought to end; the in- 
terest does not culminate at one single and definite 
point, but is sub-divided and, consequently, reduced 
in its final value. A complete and perfect effect 
must necessarily have far greater value than an ef- 
fect which is marred by incompleteness, or by sub- 
sequent distraction of interest. It follows that, in 
order to avoid anti-climax, we must leave nothing 
to be explained after the climax has occurred, and 
must introduce no subsequent matter of interest re- 
lating thereto. The rule should be: — 

(i8) In each presentation, the procedure should 
lead up to a culminating point of interest; at which 
point the magical effect should be produced, and 
after which nothing magically interesting should oc- 
cur. 

Otherwise, there is bound to be an anti-climax, 
more or less pronounced, and therefore more or less 
detrimental to the general impression produced. 

Arising out of the conditions imposed by the pre- 
ceding rule, there is another which is of equal im- 
portance in connection with certain forms of magi- 
cal presentation. We refer to those presentations 
which include more than one effect. We can all re- 
call to mind a number of instances in which several 
mutually-related magical changes are revealed in 
succession. The well-known '^Cannon-Ball and Rab- 
bit Trick" is a case in point. Two hats are passed 
to the audience for inspection. Meanwhile, the per- 
former produces a rabbit from among the folds of 
a feather boa borrowed from a lady spectator. The 



CLIMAX 



91 



hats and the rabbit are taken upon the stage and, from 
one of the hats, a large and heavy metal ball is pro- 
duced. One of the hats is then hung upon a candle, 
which had hitherto been burning upon a side table. 
Into the second hat the cannon ball is placed; and 
lastly, the rabbit is wrapped in a sheet of news- 
paper. Then follows the mysterious transposition of 
the various accessories. The newspaper parcel is 
crumpled up into a ball and allowed to fall lightly 
upon the stage. The rabbit has obviously disap- 
peared. The hat containing the cannon-ball is taken 
up and, in an instant, the heavy metal sphere 
vanishes, the rabbit reappearing in its place. The 
lighted candle which previously supported the other 
hat, is taken from the folds of a handkerchief; and 
finally, the hat is lifted from the candlestick reveal- 
ing the cannon-ball which has taken the place of 
the candle. Thus, instead of a definite climax com- 
prising one single effect, we have, as it were, a pro- 
tracted climax including a number of separate but 
interdependent magical occurrences. 

In such a case as this it may seem that the rule we 
have stated in reference to climax cannot hold good. 
But, as a matter of fact, the principle remains en- 
tirely valid. The climax is not really distributed 
over a number of effects, it merely remains in sus- 
pense until the final effect is produced. That is 
clearly so because, until the last development has 
been reached, the interest increases, step by step. 
The real climax does not occur until the moment 
when the final revelation is made or, at any rate, it 
should not occur until then. Any revelation made 



92 OUR MAGIC 

after the true climax has passed, must, necessarily, 
constitute an anti-climax. Therefore, we may say : — 

(19) When a presentation includes a number 
of effects in series, the final effect should represent 
the true climax, and its predecessors successive steps 
whereby that climax is reached. 

From the differences in treatment required in the 
respective cases of Drama and Magic, it will be 
seen that when, as often happens, those two arts 
have to be combined, special precautions should be 
observed. Since procedure which may be admi- 
rably adapted to the requirements of one art may be 
fatal to the other, nothing is easier than to play the 
cat and banjo with both arts when in combination. 
Thus, if magical effects have to be introduced into 
a dramatic production, or dramatic effects are as- 
sociated with a magical performance, a clear under- 
standing of the methods which should be adopted is 
most essential. Without such knowledge, a presenta- 
tion which, if properly managed, might be a great 
success, may easily become a disastrous failure. In 
the case of a combination of magic and drama, the 
truth of the saying that "there is no royal road to suc- 
cess" finds a very special application. The only road 
to be followed with safety is the path of knowledge. 
We will therefore give a brief consideration to the 
procedure advisable when magical and dramatic ef- 
fects are associated. 

As a point of departure, we may refer to a fact, 
not generally recognised, but amply demonstrated by 
experience. It is a fact that is useful in showing 
something of the normal conditions to be met when 



CLIMAX 



93 



drama and magic are simultaneously employed. 
The fact to which we allude is this: Many magical 
effects which, if presented as separate items in a 
programme, will evoke thunders of applause, are 
received with absolute silence when introduced as 
episodes in a dramatic plot. This, at first sight, may 
seem strange, but the apparent singularity disap- 
pears when one comes to a proper understanding of 
the circumstances. There is, necessarily, a reason 
for the result observed; and one that is well worth 
ascertaining. 

Looking at the matter broadly, it becomes evident 
that when magic and drama are associated, the di- 
verse requirements of the two arts must call for a 
certain amount of mutual adjustment. Something 
of each must be modified for the benefit of the 
general effect. In rule 5, we stated the fundamental 
principle of unity, which demands that every presen- 
tation shall represent a distinct and complete entity, 
comprising one definite effect. Thus we see that 
when a magical item instead of standing alone and 
complete within itself, is adapted to form an episode 
in a play, it no longer conveys an impression of 
finality, however complete may be the dramatic situa- 
tion attending it. That is to say, it ought not to 
convey such an impression, in the circumstances de- 
scribed. Of course, it is quite possible to pitch-fork 
a magical effect into a dramatic performance, with- 
out reference to the requirements of the plot, and 
without serving any essential purpose, and then make 
that interpolated piece of magic go with the audi- 
ence, just as it would go apart from the play. That 



94 



OUR MAGIC 



kind of thing, however, does not represent the com- 
bination of magic with drama. Neither art aids the 
other in the slightest degree; while the magic is be- 
ing presented, the drama has to halt. When the 
drama proceeds again, the magic must be cleared 
out of the way. Procedure such as this contravenes 
every essential rule of artistic unity. It degrades 
magic to the level of mere padding, as music and 
poetry have been degraded so frequently in mod- 
ern plays of the vaudeville order. The simple 
truth is that the artistic combination of various arts 
can only be achieved by subjugating those arts, one 
and all, to the general requirements of artistic unity. 
They must not each be called upon to provide isolated 
^'turns," one down and t'other come on. Their con- 
tributions must be so dovetailed together that each 
item forms a necessary step in the progress towards 
one common end. 

A magical item presented in the course of a play 
should, therefore, form an essential part of that play. 
It should be an episode w^ithout which the plot would 
be incomplete. Preferably, it should be so entirely 
essential that the play could not be presented without 
it. At the very least, it should add something of 
consequence to the general progress, and to the final 
effect. In any event, it should not be a thing which 
may be replaced by something else, or left out al- 
together without materially affecting the action of 
the play. Aristotle tells us, as already quoted, that 
everything which may be put in or left out at will, is 
not properly a part of the presentation; and that 
statement has never been gainsaid by any subsequent 



CLIMAX 



95 



authority upon the subject of art. Therefore, we 
must always endeavour to arrange our procedure in 
accordance with either one or the other of two dis- 
tinct methods. We must either produce a number of 
isolated and independent effects in succession, each 
being complete and self-contained, or we must make 
the individual items a series of stepping-stones to- 
wards one final end. 

That, of course, is not to say that a series of mag- 
ical effects may not be loosely strung together in the 
form of a sequence of events, or in a slight sketch, 
wherein the performers personate imaginary charac- 
ters. Presentations of that kind have no relation 
to the case in point. The successive effects have no 
connection with any definite theme of dramatic in- 
terest. Each is complete and perfect in itself, and 
is only related to the others by a kind of natural 
order. There is no dramatic plot to be served by 
what takes place; and, for that reason, there is no 
question of combined effect to be considered. 

When, however, we have to deal not only with 
magical feats,^ but also with dramatic construction, 
the ^'stepping-stone" method has to be adopted. 
And, in such circumstances, the more we reflect upon 
the subject the more clearly we see that ''the play's 
the thing." The magical items are, as it were, beads 
held together and supported by the thread of 
dramatic interest. Thus connected, the beads form 
a chain of harmonious proportions. If we remove 
one of the beads, the general effect is marred. If we 
try to add an unnecessary bead, we must break the 
connecting thread in order to do so; and, by so do- 



96 



OUR MAGIC 



ing, we cause the whole to fall asunder. The thread 
will 110 longer join up, and continuity cannot exist. 
The only thing to be done is to remove the superfluous 
addition, repair the broken thread and re-string the 
proper number of beads in their proper order. 
Thus, we arrive at the following rule: — 

(20) When Magic and Drama are combined in 
one presentation, the stage-procedure should, pri- 
marily, be governed by the dramatic requirements 
of the case, rather than by the normal principles of 
Art in Magic. 

By no other means can such presentations be made 
to accord with the essential principle of unity. It 
is obvious that no possible sequence of magical hap- 
penings can, per se, form the thread of human in- 
terest requisite in a dramatic plot. At the same 
time, of course, such a sequence of effects may readily 
provide the means whereby a dramatic plot is car- 
ried out. But that is a very different thing from 
providing the plot itself. On the other hand, a 
dramatic plot may undoubtedly form the thread upon 
which magical occurrences depend, and by means 
of which they are so connected as to form one con- 
sistent and harmonious whole. The conditions upon 
which the very existence of dramatic effect depends, 
require a connecting-thread of that kind. Without 
it, there can be no central support upon which the 
ultimate issue can turn. Since the principles of 
magical procedure are inadequate to provide the con- 
ditions requisite for dramatic effect, we are bound 
to fall back on the principles of drama for the main 
outlines of our presentation. Stated briefly, this 



CLIMAX 



97 



means that when, in a combination of magic and 
drama, the respective requirements of those two arts 
are in opposition, magic must take the second place 
of importance. 

No doubt, this may seem to impose rather a diffi- 
cult task upon magicians. But, to those who are 
worthy of being described as artists, that apparent 
difficulty soon disappears. Whatever we may do, 
as artists, the first essential is to insure artistic unity. 
That being so, we can feel no pang in doing what- 
ever may be necessary for the purposes of unity. We 
are prepared to sacrifice any personal foible or 
favourite method, in order that unity may be ob- 
tained. If we cannot sacrifice some small amount of 
magical effect in order that we may gain the benefit 
to be derived from dramatic construction, we should 
drop the dramatic part altogether. We can only 
benefit by the aid of drama if we are prepared to 
fulfil the requirements of drama. If we seek to 
enlist the drama into our service and, at the same 
time, to retain the normal effect associated with each 
isolated magical production, we are bound to fail 
in our endeavours. 

There can be no real difficulty in grasping the 
truth of this matter. A magical presentation is, 
normally, a thing complete and perfect in itself. It 
has its own involution, its own climax and its own 
evolution. If we present magical effects in combi- 
nation with a dramatic theme, we superimpose upon 
them a master-plot having a master-climax, and a 
master-evolution to be fulfilled, in order to produce 
unity in the final result. That being so, our magical 



98 



OUR MAGIC 



items can no longer remain complete in themselves, 
without producing disruption of the dramatic theme 
and destroying its unity. The climax normally as- 
sociated with each magical effect must be so 
modified as to form a stepping-stone to what comes 
after, instead of conveying an impression of finality, 
as it ordinarily would. By no other means can ar- 
tistic unity be preserved ; because any other procedure 
would mean sacrificing that indispensable quality to 
the caprice of the producer of the performance. Bet- 
ter, by far, leave drama entirely alone, than try to 
combine it with magic, and, at the same time, dis- 
regard dramatic |)rinciples. 

The variation of procedure necessitated by the 
combination of drama with magic, of course, relates 
only to the general scheme of presentation — the unity 
of general effect. We must not run away with the 
idea that, because magic must sacrifice something 
for the sake of unity, everything .must be sacrificed 
to the normal procedure of drama. On the con- 
trary, in matters of detail, magic has the right to de- 
mand the chief consideration. The broad lines on 
which the general effect is planned should certainly 
be guided by dramatic considerations; even to the 
detriment of magical interest. But, beyond that, 
magic steps into the position of command. 

This follows as a natural consequence of the pos- 
sible conflict between dramatic and magical require- 
ments. The respective functions of drama and 
magic, when the two arts are combined, are per- 
fectly evident. Drama provides the theme of 
general interest. Magic provides the particular 



CLIMAX 



99 



episodes whereby the dramatic theme is carried out 
with adequate effect. So long as each art is confined 
to the fulfilment of its proper end and aim, there can 
be no logical conflict between them. Therefore, as 
a corollary to rule 20 we may say: — 

(21) When, in a combination of the two arts, the 
primary requirements of Drama have been satisfied, 
all subsidiary details of procedure should be dictated 
by the normal principles of Art in Magic. 

Satisfactory provision for the exigencies of drama 
having been made, all other matters must be governed 
by magical considerations. It is when there exists 
either ignorance or neglect of the truths embodied 
in the last two rules, that we find antagonism between 
magic and drama, in combination. We can quite 
easily understand how such antagonism arises, by 
recalling what so often occurs in practice. If a 
theatrical manager presents a combination of the 
two arts, he proceeds as though the magical details 
were of no importance whatever. He works en- 
tirely upon his usual lines of procedure. He acts 
as though he were producing an ordinary drama. 
The requirements of magic never enter his head. It 
is only after completing the production, from a 
dramatic standpoint — stage-business, scenery, furni- 
ture, fittings and dresses included — he begins to think 
about the magical effects which have to be introduced. 
The natural result is an entire failure in ultimate 
efifect. The performance induces no sense of con- 
viction in the minds of those who witness it. The 
magical occurrences essential to the theme are ruined, 
and in their ruin the whole production is wrecked. 



lOO 



OUR MAGIC 



Conversely, a magician has to guard against a 
natural tendency in the opposite direction. Some 
allowance, no doubt, may be m.ade by others on that 
account, but he should make none on his own part. 
He should not allow his ideas to be dominated by 
the desire to make the utmost of his magical busi- 
ness, without regard to the dramatic theme with 
w^hich it is associated. Otherwise, he will fail in 
the final result, just as surely as the dramatist who 
throws the whole of his energy into a drama, re- 
gardless of the magical episodes upon which his 
ultimate success largely depends. 



CHAPTER IX 



PRESENTATION 

In relation to what may be termed the ^'applied- 
art" side of magic, the subject of presentation has 
not only the widest scope, but also the most vital im- 
portance of all sub-divisions of the Art in Magic. 
Indeed, since magic is one of the ephemeral arts, 
which can only attain fruition in actual performance, 
one might say, that without adequate presentation 
there can be no art in magic. And, apart from 
mechanical and speculative matters, that statement 
would be entirely accurate. The final purpose of 
the art is the presentation of its effects; and, until 
those effects are presented, the art itself cannot be 
perfected, but must remain a thing of little impor- 
tance in the eyes of the world. Therefore, it is in 
this department of his art that the magician, as it 
were, puts the coping-stone upon the edifice erected 
by his skill and labour. In accordance with the 
manner in which that final work is carried out, will 
depend the ultimate making or marring of the whole 
structure. Hence the supreme necessity, in connec- 
tion with magical presentation, for obtaining a 
thorough knowledge of such general principles as 
may be derived from experience and logical reason- 
ing. The subject is, admittedly, one of extreme com- 
plexity, and simply bristles with controversial de- 

lOI 



I02 



OUR MAGIC 



tails. It can never be reduced to even the semblance 
of an exact science, but must be dealt with upon 
broad lines, capable of general application. Still, 
even when wx confine our attention to simple gener- 
alities, and allow a wide margin of elasticity in the 
few principles which may be established, there are 
many valuable truths to be ascertained by discuss- 
ing the subject. We will, therefore, endeavour to 
reason out such truths as may serve for our guidance 
in the presentation of magical effects. 

In the forefront of our discussion, we must un- 
doubtedly place the consideration of matters relating 
to the personal characteristics of a performer. A 
striking personality is an accidental advantage. It 
may be of great assistance in the practice of art; 
yet, in itself, it is not art, but chance. There are 
many performers who, without the possession of at- 
tractive personality or natural distinction, contrive 
to make their work effective in the highest degree — 
to hold the attention and gain the appreciation of 
their audiences, completely and invariably. Now 
that, clearly, is art. It must be so, since it is not due 
to the normal operations of nature. 

On the other hand, there are men of charming 
personality who, in spite of the natural advantages 
they possess, can never render their efforts convinc- 
ing to an audience. Men who, in private, would 
appear to be gifted with qualities which could not 
fail to command public appreciation; and yet, who 
fail to touch even the fringe of success in stage-work, 
or other modes of presentation. This represents the 
utter negation of art, and is simply a misuse of valu- 



PRESENTATION 103 

able possessions. Instances of artistic failure of this 
kind will occur to the mind of everyone who reads 
these lines. Such instances clearly show that strik- 
ing personality, when divorced from the essential re- 
quirements of artistic presentation, may be of as 
little value as technical perfection which is ac- 
companied by similar deficiencies. In either case, 
there is just the one thing lacking without which 
success is impossible. That is, the knowledge of 
how to adapt personal qualifications to public serv- 
ice — in other words, to present what is shown in a 
way that will appeal to the average spectator. At- 
tractive personality is a good thing to possess. So, 
also, is technical ability. But neither of those good 
qualities, singly, nor both in conjunction, will serve 
to make the performer an artist. Something more 
is necessary. He must understand the proper 
method of displaying his qualifications. Given that 
understanding, he has every reasonable hope for suc- 
cess ; however limited his personal advantages, 
natural or acquired. Without that understanding 
his prospects are usually hopeless; no matter what 
personal charm or ability he may possess. Herein 
we perceive the importance of learning all we pos- 
sibly can, in connection with this present section of 
our enquiry. The path of knowledge cannot be 
otherwise than thorny and full of obstructions. But 
every step we take is bound to render the next easier, 
and to lead us nearer to success. 

It is clear that the object of presentation com- 
prises two prime factors, upon which all our calcu- 
lations must be based. Those factors are "person- 



OUR MAGIC 



ality'' and ''procedure." Upon the establishment of 
a proper relation between them — that is, their 
mutual adaptation to a definite purpose — the artistic 
success of any performer must ultimately depend. 
They are both variable factors; and, usually, they 
are variable within wide limits, though not neces- 
sarily so. The greater their variability, the wider 
will be the performer's range of efficiency, and the 
more numerous his opportunities for achieving suc- 
cess. Practically, this means that the higher a per- 
former's ability as an actor, the less will his field of 
operation be circumscribed, and the greater will be 
his qualifications as a magician. Conversely, the 
greater the diversity of procedure available in con- 
nection with a magical effect, the more readily may 
its presentation be made to harmonise wdth the per- 
sonal characteristics of the performer. In this case 
the effect becomes more generally available to magi- 
cians as a body, because the procedure can easily be 
modified to suit various individualities. The main 
principle underlying these considerations may be 
stated in the form of a practical rule, thus: — 

(22) No magician should ever present^ in public, 
any magical feat in "which the procedure cannot be, 
or has not been adapted to his own personal charac- 
teristics and abilities. 

However good an effect may be, and however de- 
sirable its inclusion in the performer's repertoire, 
he should reject it altogether if its presentation in- 
volves any essential feature which he cannot readily 
provide. If the necessary "business" includes either 
important details or general methods, at variance 



PRESENTATION 



105 



with the artist's stage-presence, mentality or personal 
aptitude, he should throw aside all idea of attempting 
the presentation. In like manner, if there be the 
need for any form of manual dexterity, or other 
skill, which the performer has but indifferently ac- 
quired, he should wait until that deficiency has been 
made good before he tries the thing in public. If 
the acquisition of that essential skill prove to be 
beyond his capability, he should sacrifice the produc- 
tion, unhesitatingly. However reluctantly the sac- 
rifice may have to be made, there can be no question 
as to the need for making it. In any case of this 
nature, the wish should be subject to the will, and 
the latter to common sense. The performer who 
cannot bring himself to make a sacrifice of this kind, 
will never justify his claim to be regarded as an 
artist. He may, of course, form mistaken ideas of 
his qualifications and characteristics, but that is an- 
other matter. As an artist, he is bound to do the 
best that is in him; and, at the same time, endeavour 
to reject everything imperfect. It is impossible that 
he can always succeed — but he will always try. 

In every walk of life, the same general principles 
hold good. No two men are precisely alike in con- 
stitution or capability. Therefore, no two men can 
exhibit any artistic accomplishment in identical man- 
ner and equally well. This is especially true in 
relation to the public exhibition of ephemeral arts, 
such as magic. No two actors, for example, have 
ever played ''Hamlet" in exactly the same way, or 
with equal success. Indeed, the character has been 
attempted by some who, although possessing un- 



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OUR MAGIC 



doubted histrionic genius, have shown themselves in- 
competent to represent ^'the Dane" as Shakespeare 
portrayed him. Their failure has been obviously 
due to the fact that they did not sufficiently under- 
stand their natural limitations. That is a fault 
which invariably brings it own punishment, sooner 
or later. Every living man has limitations, beyond 
which he becomes incompetent. The wise man, be 
he artist or artisan, will endeavour to learn the na- 
ture of his limitations and to keep his work well 
within them. 

A natural gift for doing certain things with 
facility is a common characteristic. In addition to 
that, most people possess an aptitude for learning 
to do certain things, which are not exactly in ac- 
cordance with their natural bent. Anything beyond 
this, however, must necessarily approach a person's 
limit of efficiency, at the best; and may, very readily, 
be altogether beyond his natural limitations. Or- 
dinarily, when a man finds himself lacking in ap- 
titude in certain directions, he acquires an uncon- 
querable aversion to attempting that which presents 
so much difficulty. But, unfortunately, we some- 
times meet with persons whose utmost desire is the 
achievement of success in directions which, for them, 
can but lead to absolute failure. Thus, we find the 
man who, by nature, is qualified to raise the process 
of ^'grinning through a horse collar" to the dignity 
of a fine art, is ambitious to shine as a poetic idealist. 
Instead of doing the thing for which he was intended 
by Nature, he wants to discourse upon ^Tictures, 
Taste, Shakespeare, and the Musical Glasses." Sim- 



PRESENTATION 



107 



ilarly, the man who has no spark of humour in his 
composition, cherishes the dream of becoming fa- 
mous as a comedian. Such men, of course, arc 
abnormal; but they are by no means uncommon. 
They may be found, here and there, among magi- 
cians. Yet, in connection with magic, there is no 
valid reason why any man should form a mistaken 
estimate of his own capabilities, or experience a mo- 
ment's doubt as to what he should, or should not 
present in public. We may state a practical rule, 
which is merely the embodiment of a truism, and 
should prevent all possible doubt of the kind men- 
tioned. It is this : — 

(23) Never attempt, in public, anything that can- 
not be performed with the utmost ease, in private. 

Anything that cannot be done with facility cannot 
be done properly. Yet, on the part of public per- 
formers, magicians included, we often find an ap- 
parent disregard of that self-evident fact. The 
spectacle of a performer attempting to present in 
public magical feats which, obviously, have not 
passed beyond the stage of difficulty in private 
practice, is by no means unusual. The efifect pro- 
duced in the minds of spectators by witnessing such 
presentations is, invariably, of a most deplorable 
character. An audience subjected to such an ordeal 
cannot fail to be either distressed, or moved to sar- 
castic laughter. So far as the performer's success 
is concerned, it does not matter which of those two 
results is produced. There is nothing to choose 
between them, for both are equally disastrous. 
Whether the audience feels sorry for the performer, 



io8 



OUR MAGIC 



or feels inclined to ^^guy" him, makes no difference 
in the end; because, either way, the end is failure, 
writ large. An entertainer, be he magician or other- 
Avise, must be able to make his audience think and 
feel as he chooses, not as accident may decide. He 
may excite laughter or arouse sympathy, but it must 
be on account of his art, not himself. Whatever im- 
pressions his spectators receive should be due to an 
interest in what he is presenting, and not to his own 
shortcomings. The audience should be made to 
laugh with him, not at him; to grieve in sympathy 
with his artistic suggestions, not in pity for his in- 
artistic failures. 

One would think that the strained relations which, 
in cases of immature or otherwise defective pres- 
entations, always exist between a performer and his 
audience, must necessarily provide a wholesome cor- 
rective for such errors. But, unfortunately, some 
performers appear to be so incurably afflicted with 
megalomania — in other words, ''swelled head" — that 
their failures never come home to them. They seem 
unable to conceive the possibility of failing to compel 
any audience to fall down and worship the divinity of 
whatever they choose to present. Theirs is the prim- 
rose path, the easy pursuit of art, because of the 
transcendent gifts with which Nature has endowed 
them. Other men, less favoured than themselves 
may, no doubt, find it necessary to labour in the 
vineyards of art, in order to achieve success. It is 
only fit and proper for such poor creatures to earn 
their bread by toil, and with difficulty. Let them do 
so, since they can do no better. The supremely 



PRESENTATION 



109 



gifted geniuses, to whom the conquest of art has 
been rendered a mere holiday task, have no need for 
such personal effort as others make. The king can 
do no wrong, and they can do nothing that is right. 
Why should genius trouble about what it is going 
to present to a public audience? It will be all right 
on the night! 

Will it? No! almost certainly, it will be all 
wrong. Men who are capable of arguing in that 
way are not artists, in any sense of the term; and 
never will be. In connection with art of any and 
every kind, there are many things which, necessarily, 
are open to question and admit the possibility of dis- 
pute. There is, however, one point upon which no 
question can be raised, and no dispute is possible. 
That is, no matter how great may be the natural 
ability of any man, he can only achieve artistic suc- 
cess by means of great and persistent effort. Those 
who think otherwise, and act up to their convictions, 
are almost certain to fail. Now and then, of course, 
one of them may be lucky enough to meet with suc- 
cess — of a kind ; but it will not, it cannot be, artistic 
success. He will be a ^'mushroom man." He will 
spring up in a night, as it were, and disappear the 
next day. His only chance of permanent benefit will 
lie in making all the profit he can, during his brief 
period of popularity. After that, the public will 
have found him out, and will consign him to the 
oblivion that awaits all such impostors as he. Year 
after year, such men constantly come and go. The 
lesson taught thereby should be self-evident to any- 
one who has normal intelligence. In magic, above 



I lO 



OUR MAGIC 



all other arts, the phrase "all right on the night" 
has no place, except by way of sarcasm. Whatever 
is not entirely right before the night arrives, will 
be found all wrong as sure as fate. It is an experi- 
ence common to all men to find that, on any special 
occasion, such as the production of a magical efJect 
for the first time in public, everything that can go 
wrong will go wrong. Whether we must attribute 
this to the malignity of matter or to the total de- 
pravity of inanimate things, whether the exciting 
cause is hurry, worry or what not, the fact remains. 



CHAPTER X 



REHEARSAL 

A MAGICAL effect of whatever kind, and by whom- 
soever presented, can be made a public success only 
by unremitting care and labour. Systematic atten- 
tion to details and refinement of procedure are re- 
quired. And such attention and refinement can only 
be provided by means of adequate rehearsal. The 
rule suggested by these considerations would be too 
obvious to require statement, were it not so obvious 
that it is in danger of being overlooked. It is this : — 

(24) Never present in public any performance 
which has not been most perfectly rehearsed, first in 
detail and, finally, as a whole. 

In reality, there is far more in that simple rule ' 
than appears on the surface. It opens out and partly 
defines a point of great importance in practice. 
Merely to say that everything should be properly 
rehearsed is very much like telling a pugilist to "go 
in and win." The fighting-man will go in and win, 
and the performer will rehearse everything properly 
without being told to do so. That kind of advice 
is too plentiful to be of much value, anyhow. 
What both those men want to be told is how to do 
the thing. Given that knowledge, further instruc- 
tion becomes superfluous. In the case of the pugi- 
list, we have no suggestion to offer in this respect; 

1 1 1 



112 



OUR MAGIC 



and, if we had, there might be some danger in ofifer- 
ing it. The entertainer, however, stands in another 
category. In his case, we have opinions of a more 
or less strongly developed character, which have been 
gained both in conducting rehearsals ourselves, and in 
watching other people conduct them. Thirty years 
or more of that sort of thing naturally tends to create 
decided views as to the proper way of doing it, and 
removes all diffidence in connection with speaking 
one's mind. Such being our position in the matter 
we will proceed to state our views accordingly. 

So far as we can see, there is only one way in which 
a presentation can be properly rehearsed. That is, 
as indicated in the foregoing rule, to take everything 
in detail first of all and gradually combine the per- 
fected details until the whole is gone through, pre- 
cisely as it will be performed in public. To proceed 
in any other manner, is bound to incur waste of 
time at the moment, and imperfection, possibly 
serious, in the ultimate result. Haphazard re- 
hearsal, ^'catch-as-catch-can" style, however pro- 
longed, can never be really efficient. One of the 
greatest dangers to be guarded against is over-re- 
hearsal. Some people, as we all know, hold the be- 
lief that it is impossible to give a production too 
much rehearsal. That is one of the wildest fallacies 
imaginable. Yet, at the same time, we should bear 
in mind the seeming paradox that a presentation may 
have been rehearsed to death without, in reality, hav- 
ing had half enough rehearsal. This, of course, 
requires some explanation; but, properly understood, 
it becomes clear to the verge of platitude. And, 



REHEARSAL 



113 



after due consideration of the point of issue, we think 
that none can doubt the fact that, so long as a pro- 
duction is efficiently rehearsed, the less rehearsal it 
has the better it will be. In other words, effort 
should always be made to curtail the rehearsal neces- 
sary, by getting as much value as possible out of the 
time devoted to it. 

By way of elucidating this subject, it is only neces- 
sary to explain the reasons to which the dangers of 
over-rehearsal are due. Broadly speaking, there are 
two of prime importance, and to which alone we may 
confine our attention, so far as present purposes are 
concerned. No doubt, there are many others of 
minor consequence; but, if we succeed in proving the 
main points, all the rest may be neglected. Then, 
firstly, excessive rehearsal produces a sense of weari- 
ness, and destroys interest in the work to be done. 
Thus, all concerned tend to become perfunctory in 
the discharge of their duties. Secondly, an undue 
continuance of rehearsal tends to make those in au- 
thority lose their sense of proportion. They become 
unable to determine the relative importance of de- 
tails, and lack a proper grasp of the true essentials. 
This second danger is by far the greater of the two, 
inasmuch as it militates against the very object which 
the rehearsals are intended to promote. What al- 
ways follows in such a case is that, the longer the 
rehearsals go on, the more stale and incompetent will 
everybody become — especially the man in charge of 
affairs. The latter person, in fact, eventually be- 
comes reduced to a state of abject hopelessness, with- 
out a particle of faith to sustain him. Surely, it 



114 



OUR MAGIC 



stands to reason that this cannot be the proper way 
to conduct rehearsals. When every subordinate is 
worn out and those at the head of affairs have lost 
all understanding of the difference between good and 
bad and of the matters which determine success or 
failure, there is bound to be waste of effort, to say 
the least. Instead of being devoted to making prog- 
ress, the time is wasted in hurrying to and fro, with- 
out getting any ''forrarder." 

From what has been said, it follows that the most 
important matter connected with rehearsal is the 
organization of procedure upon proper lines. The 
readiest way to impress upon readers the truth of that 
statement will be to give an accurate description of 
the manner in which the haphazard method works. 
We could quote an example from among our own 
experiences in various theatres, but we prefer not to 
risk a charge of wilful exaggeration. We will, 
therefore, quote an authority against whom no breath 
of suspicion can be whispered — to wit, Count Leo 
Tolstoy. His description of an Opera-Rehearsal on 
the happy-go-lucky system will serve to illustrate 
this point perfectly. One has only to modify the 
description in detail to understand how it might, 
equally well, apply to the rehearsal of some magical 
presentation. Here is Tolstoy's statement: — 

"On an elevation between two lamps with reflectors, 
and in an arm-chair placed before a music-stand, sat a di- 
rector of the musical part, hat07t in hand, managing the 
orchestra and singers, and, in general, the production of 
the whole opera. 

"The performance had already commenced, and on the 



REHEARSAL 



115 



stage a procession of Indians who had brought home a 
bride was being represented. Besides men and women in 
costume, two other men in ordinary clothes bustled and 
ran about on the stage; one was the director of the dra- 
matic part, and the other, who stepped about in soft shoes 
and ran from place to place with unusual agility, was the 
dancing-master, whose salary per month exceeded what 
ten labourers earn in a year. 

"These three directors arranged the singing, the orches- 
tra, and the procession. The procession, as usual, was 
enacted by couples, with tinfoil halberds on their shoul- 
ders. They all came from one place, and walked round 
and round again, and then stopped. The procession took 
a long time to arrange : first the Indians with halberds 
came on too late; then too soon; then at the right time, 
but crowded together at the exit; then they did not crowd, 
but arranged themselves badly at the sides of the stage; 
and each time the whole performance was stopped and 
recommenced from the beginning. The procession was 
introduced by a recitative, delivered by a man dressed up 
like some variety of Turk, who, opening his mouth in a 
curious way, sang, 'Home I bring the bri-i-ide.' He 
sings and waves his arm (which is of course bare) 
from under his mantle. The procession commences, but 
here the French horn, in the accompaniment of the recita- 
tive, does something wrong ; and the director, with a shud- 
der as if some catastrophe had occurred, raps with his stick 
on the stand. All is stopped, and the director, turning to 
the orchestra, attacks the French horn, scolding him in 
the rudest terms, as cabmen abuse each other, for taking 
the wrong note. And again the whole thing recom- 
mences. The Indians with their halberds again come on, 
treading softly in their extraordinary boots; again the 
singer sings, 'Home I bring the bri-i-ide.' But here the 
pairs get too close together. More raps with the stick, 



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OUR MAGIC 



more scolding, and a recommencement. Again, 'Home I 
bring the bri-i-ide,' again the same gesticulation with the 
bare arm from under the mantle, and again, and again the 
couples, treading softly with halberds on their shoulders, 
some with sad and serious faces, some talking and smil- 
ing, arrange themselves in a circle and begin to sing. All 
seems to be going well, but again the stick raps, and the 
director, in a distressed and angry voice, begins to scold 
the men and women of the chorus. It appears that when 
singing they had omitted to raise their hands from time to 
time in sign of animation. Are you all dead or what? 
Cows that you are! Are you corpses, that you can't 
move?' Again they recommence, 'Home I bring the 
bri-i-ide,' and again, with sorrowful faces, the chorus 
women sing, first one and then another of them raising 
their hands. But two chorus girls speak to each other,— 
again a more vehement rapping with the stick. 'Have 
you come here to talk? Can't you gossip at home? You 
there in red breeches, come nearer. Look towards me I 
Recommence !' Again 'Home I bring the bri-i-ide.' And 
so it goes on for one, two, three hours. The whole of 
such a rehearsal lasts six hours on end. Raps with the 
stick, repetitions, placings, corrections of the singers, of 
the orchestra, of the procession, of the dancers, — all sea- 
soned Y/fth angry scolding. I heard the words, 'asses,' 
'fools,' 'idiots,' 'swine' addressed to the musicians and 
singers at least forty times in the course of an hour." 

No wonder Tolstoy felt impelled to dip his pen 
in vitriol and to condemn such proceedings with all 
the force of invective at his command. No wonder 
he was led to protest violently against the commis- 
sion of such crimes in the name of art. No wonder 
he was filled with contempt, even for the opera itself ; 
although, from his account, it appears to have been 



REHEARSAL 



117 



founded upon the most beautiful, perhaps, of Moore's 
poems — "Lallah Rookh." Worst of all, is the fact 
that there cannot be the slightest doubt of Tolstoy's 
accuracy in this matter, either in substance or detail. 
The palpable fact that he had an axe to grind in this 
connection, must be admitted, of course; but, for all 
that, his integrity is too well known to permit of any- 
one to question his statement, in any essential par- 
ticular. 

Surely every man, whose head was made for use 
and not ornament, must agree that such rehearsals 
cannot be efficient. Proceedings of that kind, if re- 
counted in a court of law, would most certainly be 
regarded as evidence of incapacity on the part of the 
men in authority. No business man — and, above all, 
no artist — could ever believe such a Ballyhooley to 
be the proper means for producing a work of art. 
The amenities of Donnybrook Fair cannot represent 
the standard for artistic procedure; and, in order 
to achieve artistic success, it can scarcely be requisite 
for artists to emulate the conduct of Kilkenny cats. 
We apologise for this sequence of similes, drawn 
from the Sister Isle, but it is not our fault that they 
happen to fit the case like a sticking-plaster. 

Imagine the absurdity of having the Musical Di- 
rector, Stage Manager, Ballet Master, Principals, 
Chorus, Ballet and Supers, all tumbling over one 
another in that manner. Why on earth were all 
those people huddled together on the stage, trying 
to act in concert when they had not yet learned what 
was required of them individually? Think of the 
chaos that must have attended the efforts of such 



ii8 



OUR MAGIC 



crowded incompetency! Nearly everything was 
bound to go wrong; and, at each mistake, the whole 
crowd had to halt, go back to a certain point and 
start again. The waste of time resulting from such 
idiotic procedure is lamentable in the extreme. Let 
the reader try to put himself in the place of that 
singer who had the job of bringing home the "Bri-i- 
ide!" He must have had a high opinion of the 
ability possessed by his Management. No matter 
which of the assembled inefRcients went wrong, he 
was pulled up, ordered to go back to the beginning 
of his recitative, and made to sing it all over again. 
And the same with everyone else. All of them 
marking time after each step forward and usually, 
taking three steps back afterwards. This certainly 
''gives furiously to think," as they say across the 
channel. 

Then, again, consider the discipline of the sub- 
ordinateSj as shown in Tolstoy's account. It was like 
the snakes in Norway, non-existent. One might 
safely predict that no assemblage of men and women 
could be found who would do better in surroundings 
of that kind. They could maintain no shred of in- 
terest in their work. They could see no possible 
object in paying attention to business, when nothing 
really mattered. But, when the harassed Musical 
Director happened to notice somebody chattering, 
he naturally expressed his opinion in terms of mag- 
nitude. 

The whole system was obviously wrong. Some 
may, perhaps, argue that when time is short, it is 
impossible to adopt any other course. We contend. 



REHEARSAL 



119 



however, that the shorter the time available, the 
greater the need for making the most of it. If one 
has not time to manage a production systematically, 
there cannot be time to muddle through v^ith it. 
The rational way of going about the business would 
have been as follows: 

The first essential in any production is the avoid- 
ance of divided authority. There can be only one 
"producer," who must be in supreme command. 
But, at the same time, since he alone cannot do all 
the work, he must not interfere with the minor au- 
thority delegated to others. In the case of this par- 
ticular opera, the Musical Director was also the 
producer, and properly so. In a magical produc- 
tion, the supreme head of affairs would, similarly, be 
a magician. Had he been a capable producer, he 
would never have allowed everything to be rehearsed 
at once, in that way. At the outset, he would have 
assigned to each of his subordinate officials their re- 
spective duties; and, he and they would each have 
given the performers in their own individual depart- 
ments all necessary instructions. To every impor- 
tant member of the company, written instructions 
would have been issued, for private study. While 
the principals were studying their parts, the supers 
and other subordinate performers would have been 
called for rehearsal in their respective groups. Si- 
multaneously, the orchestra would have been re- 
hearsed, apart from the stage performers. After 
that, the principal singers and actors would have 
been called to rehearsal with the orchestra. Then 
each group of minor artists would have been at- 



I20 



OUR MAGIC 



tended to in the same way. Then, and not until 
then, would a general rehearsal have been called. 
Not until then, would everybody have been brought 
together upon the stage, and expected to attempt 
combined action. 

That would be the time when the producer took 
general command. He should then find that, in the 
main, every performer knew exactly what he had to 
do, and where he had to stand. AH the producer 
would have to do would consist in dovetailing the 
work of the various departments into one harmonious 
whole. Whatever he might have to say about the 
work of any particular department, he would say it 
to the director of that department and not to the sub- 
ordinates. What any director might want to say to 
his own people would have to wait until the general 
rehearsal had ended. The proceedings would not 
be stopped and everybody kept waiting, while the 
Ballet Master scolded his dancers, the Stage Mana- 
ger called over the coals his supers, stage-hands, 
extras and assistants galore, or the Conductor gave 
his French horn socks. 

According to Tolstoy's account, the Musical Di- 
rector appeared to be attending to everything con- 
nected with the opera, and trying to combine the 
duties of all the directors. If he had to teach and 
direct all the crowd, what did he want with such 
people as the Stage Manager and the Ballet Master? 
There is no sense in keeping a dog and doing the 
barking oneself. Besides, in a big production, it is 
impossible for one man to be both head cook and 
bottle washer in that way. 



REHEARSAL 



121 



Wagner, we know, tried to do everything himself 
in the way of supervision. He knew one branch of 
his productions thoroughly — the musical depart- 
ment. This was surely enough for one lifetime, as 
things go. But, in addition to that, he was Author, 
Producer, Stage-Manager, Ballet Master, Scenic 
Artist, Costumier, Lighting Expert, Stage Foreman, 
Property Man and everything else, all rolled into 
one. It is heresy to say so, but sitting through a 
Wagner opera is, to us, a painful ordeal. In spite 
of the grandeur of the music, the absurdities in 
drama and stage-craft to everyone with a sense of 
humour, cannot fail to be irresistibly comic. Wag- 
ner should be heard, not seen. Our culminating ex- 
perience of Wagner as performed on the stage, was 
in witnessing the second act of ^'Die Walkure" in 
Vienna. Never again! The tortures of suppressed 
laughter we underwent were too great for words. 

It is a mistake to try to do too much. A producer 
must necessarily know many things. He must have 
a general knowledge of the work connected with 
every department of his production. But he cannot 
do, and must not attempt the work, which should be 
done by expert specialists in each department. He 
must be able to say when anything whatever is not 
right; he may even have expert knowledge and ex- 
perience in one or two directions ; but he cannot know 
everything, and do everything essential to a great 
production. The ideal producer is the man who can 
direct the efforts of his colleagues, in such manner as 
to bring about the combined effect he has conceived, 
and which he knows to be essential to success. 



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OUR MAGIC 



We will now proceed to deal with the application 
of the foregoing illustrations, and of the conclusions 
to be drawn therefrom, to the procedure advisable, 
first in the case of purely magical productions, and 
then in connection with magic and drama combined. 

In the rehearsal of magical presentations, the need 
for avoiding confusion is even more pronounced than 
in the case of drama. Performers have more to 
think about in magical work than in other forms of 
stage business. A magician has not only to play his 
part as an actor; but, simultaneously, he has to give 
adequate attention to technical details which involve 
considerable difficulty, as a rule. In addition to 
these matters, he is often obliged to study his audi- 
ence, and adapt his procedure to the requirements of 
the moment. Compared with the actor's task of 
playing a set part, the magician's duties are far more 
complex, and more difficult to perform. Therefore, 
he requires every advantage to be derived from thor- 
ough preparation. 

In the case of a single-handed performer, of 
course, the matter is comparatively simple. Yet, 
even in his case, systematic procedure will yield bet- 
ter results than haphazard working. His first step 
should be to get the purely magical part of his wark 
more or less complete. Until that is well in hand he 
cannot expect to give proper attention to the require- 
ments of actual presentation. When he has arrived 
at the knowledge of what must be done to render his 
effects presentable, he will be in a position to decide 
upon the best way of presenting them. Naturally, 
while rehearsing the magical details, he will conceive 



REHEARSAL 



123 



ideas relating to appropriate patter and business. 
These he should note down for future reference, 
without flying ofif at a tangent, and allowing his 
attention to wander from the work in hand to details 
of presentation which, at that stage, cannot possibly 
be decided. In trying to do two things at once, in 
that way, he can only waste time. The chances are 
ten to one that, if he cannot avoid the temptation to 
imagine what the end of his work will be, while he 
has still to complete the beginning, more than half 
the ideas he elaborates will have to be rejected. 
There is also the danger that in attempting too rnuch 
at once, he will lose sight of many important details 
which, otherwise, would have attracted his attention. 
When he gets on the stage, he will be compelled to 
attend to several things at the same moment. He 
should, for that very reason, attend to one thing at a 
time, while he has the opportunity for so doing. 

Having brought his magical details to some degree 
of perfection, and made notes of any ideas that have 
occurred to him in relation to the staging of his ef- 
fects, the performer, even then, is not ready to re- 
hearse his presentation. He has still to decide upon 
the word and action appropriate to each moment 
occupied by his stage-work. The incidental patter 
and business must be prepared before he can reason- 
ably hope to make efiicient progress. The fact is, 
after the purely magical technique has been mas- 
tered, the magician is required to throw aside, for 
the moment, his own special work, and take up the 
dramatic side of his art. He has to prepare himself 
for playing his part upon the stage, as an actor. To 



124 



OUR MAGIC 



this end, he must become a dramatic author, in addi- 
tion to fulfilling his other duties. Even though he 
may be preparing a ''silent act," he has still the 
dramatic ''business" to arrange; and that, after all, 
is the most important element of drama. When his 
presentation includes patter also, he has a "speaking- 
part" to write and play. 

Such being the case, his proper course is obvious. 
Firstly, he should sit down and write out his part 
— words and business — precisely as though he were 
a dramatist writing a play. Secondly, having done 
his duty as an author, he should learn his part, pre- 
cisely as though he were an actor, pure and simple. 
Then, and not until then, will he be in a position to 
commence the rehearsal of his work, as a presenta- 
tion. That is the earliest moment at which he will 
be competent to rehearse, on the stage, the production 
he intends to present on the stage. 

From this point onward, the whole procedure 
should be, so far as possible, conducted as though 
an audience were present. There is some difficulty 
in so doing, no doubt. Empty seats are a poor sub- 
stitute for an audience. Cold blood is a very in- 
different stimulus, in comparison with the excitement 
of a public performance. The circumstances are not 
well adapted to calling forth a performer's reserve 
force, nor are they calculated to aid him in display- 
ing his ability. Those drawbacks, however, have to 
be faced at rehearsal by all performers alike. The 
magical performer cannot expect to provide an ex- 
ception to that universal rule. The only way in 



REHEARSAL 



125 



which his presentation can be efficiently rehearsed is 
for him to imagine the empty seats are filled, to 
address them as ''Ladies and Gentlemen," and go 
through the performance as it will be given "on the 
night." 

A young performer often imagines that the ease 
of manner and ready flow of language possessed by 
his seniors are, more or less, spontaneous in origin. 
Even when he has seen a prominent artist present a 
certain effect several times, and has noted that the 
patter and business do not vary, he merely concludes 
that the performer has got into the way of doing and 
saying the same thing at the same time. But the 
fact is that, practically, every word and action has 
been most carefully rehearsed, before the presenta- 
tion was ever put before the public. Nothing is ever 
left to chance by an artist. As we have already 
pointed out, art and chance are entirely antagonis- 
tic. All that seeming spontaneity, all that ease of 
deportment and delivery, are the result of careful, 
preparation. They depend upon an adherence to 
artistic principles and methods, rather than upon 
natural self-possession or personal resource. It is 
only in accidental circumstances that ready wit and 
promptitude are called into play. Apart from such 
contingencies, an artist always knows beforehand 
what he intends to say and do. Relieved of all 
anxiety in that direction, his mind is free to attend 
to the work of actual presentation. If his attention 
is diverted from the work in hand by constant anxiety 
concerning details of which he is uncertain, he can 



126 



OUR MAGIC 



never do his best. His performance, consequently, 
is bound to suffer to the precise extent of the anxiety- 
he feels. 

The general handicap due to nervousness, from 
which all artists suffer more or less, cannot be elim- 
inated by any amount of rehearsal. It is the pen- 
alty an artist has to pay for having gained a proper 
understanding of his responsibilities. Knowing, as 
he does, the full requirements of his art, he is in- 
clined to doubt his ability to perform his duties 
efficiently. That feeling, in its acute form, usually 
wears off with som.e rapidity, even during the first 
presentation of a new effect. As the performance 
proceeds, and everything goes aright, the artist gains 
confidence from the knowledge that his preparations 
have been properly made and, in all probability, he 
has no reason to dread failure. 

When we see a performer who, with the utmost 
assurance and self-conceit, starts off to present a new 
effect in public, we need feel no uncertainty in^'siz- 
ing up" his merit as an artist. He cannot possibly 
realise his true position, nor the nature of his re- 
sponsibilities. He is confident of success, for the 
simple reason that he does not understand how seri- 
ous would be the result of failure. His courage is 
born of mental deficiency, not of artistic intelligence. 
When, however, his over-confidence leads to disaster, 
he obtains a glimmering notion of something lacking 
in the scheme of creation which has launched him 
adrift upon the ocean of life. 

There is an anecdote related of two officers who 
served in the Crimean War. One was a Major 



REHEARSAL 



127 



Smith — let us say — and the other we will call Cap- 
tain Brown. Smith was a man who possessed a great 
amount of brute courage. He knew no fear, because 
he could not understand danger. Brown, on the 
other hand, was a man who thoroughly realised dan- 
ger, but was dominated by a sense of duty and re- 
sponsibility. During one particular action, Smith 
was riding along the ranks, and noticed Brown, very 
pale and anxious, standing at his post. The Major 
pulled up his horse and said, "Hullo, Brown! You 
look frightened!" Brown, very quietly, replied, 
''Yes, I am frightened. If you were half so fright- 
ened as I am, you would run away." 

In this little story, we have a complete analogy to 
the excessive confidence of the incompetent per- 
former, and the natural diffidence and nervousness 
of a real artist. The man who knows no fear re- 
quires no courage. His education is defective. He 
is confident because he lacks knowledge. The man 
who understands danger, and faces it all the same, 
has true courage. He has been properly educated. 
He knows the extent of his responsibilities and has 
learned how to do his duty as it should be done. 
That is the kind of man to whom the title of artist 
may be justly assigned, not to the man rendered con- 
fident by ignorance and mental obtuseness. 

Passing on to the rehearsal of presentations in 
which magic and drama are combined, a very slight 
amplification of what has been said is all that is 
needed. The same general principle of rehearsal in 
detail applies to this case also. The dramatic side 
of the question merely adds a further department of 



128 



OUR MAGIC 



specialisation. Incidentally, of course, it adds a 
further cause of possible confusion in rehearsal; and 
one which, unless due precautions be taken, will pro- 
duce great waste of time in the first place and, ul- 
timately, defective presentation. 

The procedure to be recommended in this instance, 
although it may sometimes appear to involve loss of 
time, is to keep the magical and dramatic sides of the 
production entirely separate, until such time as both 
have been well rehearsed. In many cases, this may 
be thought equivalent to going the longest way round 
to the end in view. Appearances, however, are de- 
ceptive; and, in such matters, the longest way round 
is usually the shortest way home, in point of time. 
To rehearse the whole combination before its in- 
dividual components have been brought to a reason- 
able degree of perfection, can but be to reproduce 
the conditions described by Tolstoy in the account 
we have quoted. 



CHAPTER XI 



SPEED IN PRESENTATION 

In magic, speed in presentation is a most important 
point, artistically speaking. There are some per- 
formers who, with half a dozen simple tricks, can 
fill up a two-hours' entertainment. Others there are 
who can rattle ofif a score of big effects in as many 
minutes. Each class of performer, no doubt, thinks 
his own method of presentation the best that can be 
devised. So it may be — for him. But the question 
is, which method, if either, is best for the art of 
magic? Allowing for adaptation to personal char- 
acteristics, there must be a certain standard in this 
respect towards the attainment of which a magical 
artist's aim should be directed. We want to ascertain 
the logical basis upon which some such standard may 
be founded. Then, in the first place, we must think 
out the various points bearing upon this subject and, 
afterwards, make up our minds as to the conclusion 
one may deduce from the facts of the case. 

Each particular mode of presentation, in point of 
showmanship, has certain advantages. The rapid 
method undoubtedly has the advantage of giving the 
spectators plenty for their money. That is to say, 
plenty of magic; which, presumably, is the thing 
they chiefly expect from a magician. The slow 
method, on the other hand, gives the performer 

129 



130 



OUR MAGIC 



ample opportunity for getting at home with his spec- 
tators and making them thoroughly interested in his 
work. Herein^ again, we are bound to admit the 
existence of great advantages. In completely inter- 
esting and carrying conviction to the minds of his 
audience, a magician unquestionably fulfils the ex- 
pectations of the public. 

From an artistic standpoint, however, each of these 
methods has its disadvantage. When we consider 
the final impression produced — and that is the main 
consideration, so far as art is concerned — we realise 
that, in neither case, can there exist the completeness 
and satisfaction of interest which true art demands. 
The rapid method imposes so much strain upon the 
attention of an audience, that complete appreciation 
of the eflect presented can never be gained. The 
slow^ method, conversely, does not sufficiently occupy 
the minds of the spectators in the direction towards 
which their anticipation has been led. Thus, it is 
easy to see, both methods are lacking in certain ar- 
tistic essentials. Each comprises too little of the ad- 
vantage in which the other excels. 

Looking at the matter fairly and squarely, one can- 
not help feeling that any presentation which leaves 
an impression of either indistinctness or over-elabora- 
tion has a very serious defect, from whatever point 
of view it may be regarded. Even setting aside the 
question of art, high or low, the fact that a per- 
formance lacks one or other of the qualities which 
the public expects a public entertainment to possess 
is, in itself, sufficient to condemn the method of 
presentation adopted. From a magical entertainer, 



SPEED IN PRESENTATION 131 

the public expects two things — magic and entertain- 
ment. The man who gives the public plenty of 
magic, but serves it up in such hot haste that his audi- 
ence has no time to digest it, merely surfeits the spec- 
tators with that particular requirement, without 
satisfying their other expectations. He occupies 
their attention more than enough, but he does not 
entertain them as they rightly expect to be enter- 
tained. They have too much of one good thing and 
not enough of another. The magic they wish to en- 
joy, instead of being served up properly, is thrown 
at them — take it or leave it — just as the waitresses at 
cheap restaurants dump down the food before their 
customers. Some people, no doubt, can put up with 
such treatment. They get used to it, as eels do to 
being skinned. But, surely, the person who cannot 
enjoy a meal better served must have an exceptional 
constitution. To most people, good service and 
time for enjoyment are things to be desired. Satis- 
faction, and not indigestion, is what normal beings- 
appreciate. 

On the other hand, the performer who spins out 
his magical business, by unduly watering it down 
with patter or other forms of entertainment, displays 
a fault of another order, but similar in degree. Re- 
taining the simile of the restaurant one may say the 
service is far too elaborate and the rations are far too 
scanty. Or, in the renowned words of a certain 
governor of North Carolina, we may say, ''It's a long 
time between drinks." The spectators may be 
greatly entertained by the performance but when it 
is all over they will feel dissatisfied because they have 



132 



OUR MAGIC 



not obtained what they paid their money to see. In 
such conditions the final effect is as incomplete and 
imperfect as when people have been allowed too lit- 
tle time for appreciation. 

Then there seems little doubt as to the kind of 
standard to be adopted in this respect. The rapid 
method may suit some performers well, especially 
those who either lack repose or dispense with patter. 
The slow method may recommend itself to those 
whose strong point is either ''a gift of the gab" or a 
special ability in "holding an audience." The ques- 
tion of ''personality" or, in other words, individual 
characteristics both natural and acquired, must be 
allowed considerable weight in such questions. The 
man who, although a skilled magician, has no special 
ability as an entertainer — who has not that easy grip 
of his spectators' attention which disarms criticism 
of his procedure at the moment — is bound to rely 
for his ultimate success upon a more or less rapid 
method of presentation. The man whose skill is that 
of an entertainer in the ordinary sense, rather than 
that of a specialist in magic, has to rely upon his gen- 
eral ability more than upon his magical effects. In 
his case, the comparatively slow method of presenta- 
tion is essential to success. But, ''there is reason in 
the roasting of eggs," as the proverb has it. One 
man may find it best to go ahead, another to go 
slowly; but every man who professes to give the 
public good work should remember that, beyond 
certain limits, in haste and deliberation alike, good 
work can scarcely exist. 

No reasonable doubt, we think, can be entertained 



SPEED IN PRESENTATION 



as to the standard of rapidity in presentation which 
is most desirable in magical performance. The de- 
fects inseparable from the respective extremes simply 
indicate that the happy medium represents perfec- 
tion. The audience must have time to understand, 
to consider and to appreciate the successive items 
presented or the final impression must be confused 
and imperfect. A magical performance must con- 
tain sufficient magic to fulfil the expectations of the 
audience, or dissatisfaction, more or less acute, is 
bound to be the after-effect produced. In either 
case, the ultimate result displays artistic shortcom- 
ings, which should be corrected. True art and good 
policy alike, point to the middle course as being best, 
and to the wisdom of keeping that course so far as 
circumstances will permit. It is quite possible to 
give the public plenty of magic without reducing 
one's performance to the level of a mere '^show," 
devoid of artistic merit. It is also quite possible to 
give the public real entertainment without stinting 
the supply of magic. There is no difficulty in the 
matter, one way or the other. By avoiding redun- 
dancy in either direction the thing is done, automatic- 
ally. 



CHAPTER XII 



PATTER 

Intimately related to the foregoing subject, is that 
of ''patter" in magical presentations. The diversity 
of opinion expressed upon this subject has been 
extreme. Some have held the view that patter is 
all-important in the art of magic. Others have re- 
garded it as an entirely negligible quantity. Ob- 
viously, both views cannot be right; but, nevertheless, 
it is quite possible that both may be wrong. Indeed, 
one may feel practically certain that neither opinion 
can be altogether correct, however much be said in 
its support. This seems to be another instance where 
the truth rests mid-way between two extremes. The 
fact, is, patter is entirely essential in some cases, and 
quite unnecessary in others. We will briefly review 
the subject in its various aspects. 

Firstly, as to the view that patter is the very salt 
of magic, and indispensable to the art. Let us see 
what may be said for and against this proposition. 
It is certain that some well-known experiments can- 
not conceivably be performed in dumb show; while 
others, even though they might be given in silence, 
would lose immeasurably. The former class com- 
prises effects in which the initial procedure demands 
explanation. This may arise from the fact that 
members of the audience are required to assist the 

134 



PATTER 



135 



performer, or for various other reasons. The lat- 
ter class consists in experiments such as those in- 
volving extensive preparation, which might prove 
tedious if not relieved by appropriate remarks and 
witticisms, and cases wherein some slight diversion 
of the spectators' attention is requisite. Instances of 
each class will readily be recalled to mind. Then, 
in one case, to dispense with patter would be simply 
impossible. In the other case, it would be most un- 
wise. In either case, artistic presentation demands 
the employment of patter, as an inevitable necessity. 
Thus, the performer whose repertoire is confined to 
silent procedure alone, cuts himself adrift, artistic- 
ally speaking, from a wide range of effects which 
would otherwise be available for his use. This, in 
itself, provides a strong argument in favour of patter. 
But, at the same time, it in no way represents proof 
of the contention that patter is indispensable to 
magic, from an artistic standpoint. It merely 
proves the value of speech, upon occasion. 

Turning to the other side of the question, we un- 
doubtedly find not only effects which lose nothing 
by being presented in silence, but also a number 
which must actually gain in artistic value by that 
mode of presentation. Such are those effects which, 
on the one hand, include in their performance much 
that will attract the eye and, on the other hand, those 
in which close attention is desirable, on the part of 
the audience. In neither class, can patter be re- 
garded as an artistic essential. On the contrary, the 
introduction of patter where it must be either un- 
necessary or detrimental, could only be regarded as 



136 



OUR MAGIC 



an advantage by those to whom the requirements of 
art are unknown. Anything not requisite or, at the 
least, tending to enhance the efipect produced, must 
be a blemish, artistically speaking. Therefore, we 
are bound to admit that silent presentation can be 
perfectly artistic, and that patter is not a necessary 
constituent of our art, in certain phases. 

Most readers, probably, will remember the ^'Gib- 
son Girl" case; wherein it w^as sought to prove that 
the title of ^'actress" could only be claimed by a lady 
who played a ^'speaking part." This contention was 
vigorously opposed by various witnesses whose opin- 
ion is of value. For instance, Mr. Comyns Carr 
pointed out that Mme. Jane May, whom he believed 
to be the greatest actress in the w^orld, never played 
a speaking part, but always acted in dumb show. 
That is not altogether accurate, for we ourselves 
have seen her play such a part, and also give very 
clever imitations of other artists, both in speech and 
song. Still, her strong point is voiceless acting; and 
it would be absurd to say that, when she ceases to 
speak, and, as in "L'Enfant Prodigue," conveys 
every idea by action, she ceases to be either an actress 
or an artist. 

Once again, we must remember Robert-Houdin's 
definition of a conjurer, as being an actor who plays 
the part of a magician. Or, if we wish to express 
the same idea in more accurate terms, we may say 
that a modern magician is an actor playing the part 
of a legendary magician. In any event, the artist 
in magic is, primarily, an actor. His manipulative 
or technical skill, however necessary to complete 



PATTER 



137 



success, must be regarded as a secondary considera- 
tion, in relation to the artistic side of his calling. 
Therefore, whatever may be true of other actors is 
equally true of him. If speech be not essential to 
art in other branches of dramatic work, it cannot be 
so in magic. And, since speech is, ordinarily, an 
adjunct of the highest importance in drama, it must 
be equally so in our own particular case. It follows 
that, so long as the silent performer does not intro- 
duce efifects wherein speech is artistically requisite, 
and the performer who uses patter does not speak 
when the purposes of art would be better served by 
silence, each will be equally entitled to rank as an 
artist in magic. Hard and fast opinions, in either 
direction, can have no weight in deciding the gen- 
eral question as to the value, or otherwise, of patter. 
That question is one that cannot be decided upon 
general principles. It can only be answered in re- 
lation to particular conditions. The answer depends 
entirely upon the artistic requirements of each ia- 
dividual effect, as modified by the circumstances in 
which it is presented. The rules already set down 
in this book should provide all the guidance required, 
at any time, in forming a just opinion in this respect. 

This leads us, naturally, to the consideration of 
appropriateness in patter. Just as there is the need 
for knowing when one may or should either use or 
discard patter, it is equally important to know what 
kind of patter to use if and when necessary. One 
must not only know when to speak, but also what 
form of speech to adopt, in each instance. Further, 
it is requisite to know precisely what form of speech 



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one is capable of adopting, with proper effect. One 
may know what ought to be said; but, unless one can 
say it properly, it will be better left unsaid. And it 
is of no use to think one knows such things. This 
is a case wherein it is necessary to make quite sure 
of one's ground, especially in relation to personal 
characteristics and capabilities. By study and ex- 
perience, the abilit}^ to form a sound judgment on 
such points may be acquired; and yet, for personal 
reasons, the procedure known to be correct may not 
be the best to adopt. Nothing can be good that is 
spoiled by improper treatment; and, unless one can 
carry out the proper mode of procedure in a com- 
petent manner, it would be far better to adopt a less 
perfect method, but one within the range of adequate 
performance. 

As a practical illustration, we will suppose a per- 
former intends to present a magical item, for which 
the best mode of introduction would be a serious, 
well-written, and impressive address. Then, • the 
points the performer has to consider are these. Can 
he be effectively serious and impressive, and can he 
wTite well enough to compose the requisite address? 
If these achievements be well within his power, he 
need have no hesitation in going ahead. But, if, in 
either respect, his personal limitations stand in the 
way of successful achievement, he should sacrifice 
something in mode of procedure, in order to bring 
the presentation within the scope of his ability. It is 
always better to do an imperfect thing well than to 
attempt to attain perfection and fail in the endeavour. 
The transition from art to balderdash may be made in 



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139 



a single step. The performer who, understanding 
his art, but not realising his own limitations, under- 
takes more than he can perform, is almost certain to 
take that step, from the sublime to the ridiculous, 
every time. 

In writing patter, of course, a performer may ob- 
tain assistance. But, so far as public delivery is 
concerned, he is bound to do the work himself. If 
he undertakes to give an address which is intended 
to be impressive, he should be an elocutionist. If 
the prevailing note of his address be comedy, he 
should be a comedian. If what he has to say be 
pseudo-scientific, he should be, at least, something 
of a scientist. And so on, throughout the whole 
range of possible methods. The complete magician, 
of course, would possess all such qualifications. But 
the complete magician has yet to be born. So far, 
we are all compelled to sacrifice something of ambi- 
tion, on account of our individual shortcomings. 

It is here that the saving grace of good sense steps 
in,, to protect the artist in magic from disaster. With 
sufficient good sense, a magician may easily steer 
clear of the rocks, shoals, and quicksands, to which 
his personal limitations might otherwise lead him. 
So long as he knows and avoids the courses in which, 
for him, there is no thoroughfare, he is safe. But, 
directly his good sense fails him, he becomes liable 
to meet with disaster. The good sense to know 
wherein he is lacking in education or ability, wherein 
his physical peculiarities represent obstacles to suc- 
cess, wherein he is entirely competent to do what is 
required and wherein rests his best chance of gaining 



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public appreciation, undoubtedly provides the best 
aid to propriety that any man can possess. And, 
fortunately, it is an aid that may be gained by all who 
will take the trouble to '^read, mark, learn and in- 
wardly digest" a few simple truths, within the reach 
of every normal intelligence. 

The most obvious of the simple truths to which 
we have alluded is that the man who lacks educa- 
tion must either be aware of that fact, or be little 
better than an idiot. The corollary to this truth is 
that the performer who, not being an idiot, is aware 
of his lack of education, will take due precaution to 
avoid mistakes in speaking. Since he cannot rely 
upon his own knowledge, he will obtain the advice 
and assistance of others who possess the education he 
has not acquired. The performer who is wise 
enough to know that he lacks education, and yet neg- 
lects the precautions which such circumstances dic- 
tate, must be a hopelessly self-satisfied duffer. He 
is past praying for, so far as any semblance of art is 
concerned. But the performer who, lacking educa- 
tion, yet keeps in constant view the deficiencies from 
which he suffers, and the need for overcoming 
them, may be as true an artist as though his educa- 
tion were of the best. 

Thus, for example, the man who has not learned 
to speak grammatically must be a fool to speak in 
public, without first submitting the text of the speech 
to somebody able to correct the mistakes he is bound 
to make. The man who has not learned French can- 
not expect to speak French, except in such manner 



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as to make himself ridiculous, even though he may 
have consulted someone who knows the language. 
The performer who does not understand elocution 
should not speak in public without having rehearsed 
before someone who can show him where he goes 
wrong. Above all, the performer whose accent is 
low class should never speak in public when circum- 
stances render such an accent inappropriate. 

To a man of brains there can be no difficulty in 
knowing the right thing to do, so far as these ele- 
mentary matters are concerned. The very smallest 
amount of gumption serves to prevent danger from 
the pitfalls awaiting those who venture beyond the 
limits of their own knowledge. So, when a per- 
former trips up over some obstacle which proper care 
would have enabled him to avoid, his reputation as 
an artist is bound to suffer. And it is not too much 
to say that of all the blunders a performer can com- 
mit, those connected with mistaken speech are the 
very worst. Consequently, they demand the utmost 
care in prevention. 

In every audience there are sure to be persons to 
whom verbal errors are as distasteful as sour goose- 
berries. A grammatical solecism or a defect in pro- 
nunciation will, figuratively, set their teeth on edge. 
What must such people think of a performer who, for 
instance, calls a phenomenon a "phenomena"? They 
can only regard him as one whose ability is, probably, 
on a par with his education. They will think, and 
rightly so, that the man who has any capability at all 
must be, at least, capable of avoiding the use of terms 



142 



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which he does not understand. The misuse of words 
cannot be regarded as otherwise than as direct evi- 
dence of incompetency. 

No sensible man can help knowing that all lan- 
guages abound in "booby-traps," for catching the un- 
wary or unskilled speaker. Consequently, every 
sensible man will take good care to avoid being 
caught therein. But there are others ; and, unfortu- 
nately, some of those others are magicians. It may 
be worth while to give an illustration of the kind of 
mess such people too often make of their native Eng- 
glish. We will suppose an address has to be de- 
livered to the following eflfect: — 

"The handkerchief that covers the lady's eyes has 
been examined by several members of the audience, 
each of whom guarantees that covering to be free 
from preparation of every kind. Then there can be 
no one among those present who doubts the fact that, 
in circumstances such as these, the lady is rendered 
quite incapable of seeing what takes place around 
her. Between you and me, however, blindfolding 
and every similar precaution are alike powerless to 
destroy the mental sympathy and co-operation that 
exist between her and myself. Anything communi- 
cated either to her or to me becomes, instantly, known 
to us both ; whatever severity may be exercised in the 
tests to which either of us has to submit." 

Thus rendered the speech is, obviously, both 
grammatical and sensible. Let us now transcribe it 
as, without exaggeration, it might be delivered by 
some performers, thus: — 

"The yankerchief tied round Maddy Moselle's 



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143 



eyes 'ave been ixamined be several of the audience, 
each of wich say it is quite unprepared or faked in 
the ordinary way, as usual in all performances of 
mental thought telepathy like these. Then everyone 
in the audience see at once that what we do is quite 
different altogether, because trickery and deception is 
beyond suspicion, and prevents any doubt about her 
knowing wot anyone of you do, and me as well. But, 
between you and I, blindfolding and all those kind 
of things makes no difference to the mental sympa- 
thies and similar influence which exists between the 
mind of we two. Whatever you tell us pass from 
each other, without any possible way of communicat- 
ing; no matter what severity of difficult tests are 
exercised by the audience, who want to prove if every 
single one of our statements are not correct, but en- 
tirely without collusion or confederacy." 

Thus muddled, the speech obviously becomes 
neither grammatical nor sensible. Yet everyone 
who reads these words must, occasionally, have heard, 
self-styled artists — or probably artistes — make hay of 
the English language in precisely that fashion. Un- 
fortunately, the foregoing is an actual type, rather 
than a travesty of the diction sometimes inflicted 
upon audiences. And, one may rest assured, the art- 
istes who address educated people in such ruinous 
phrases, are the very men most likely to attach the 
highest importance to their own achievements as 
"perfeshnals," and to entertain the greatest contempt 
for the "amechure." 

To digress, for a moment, from our present theme, 
the term artiste recalls a memory of the late Gorney ' 



144 



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Grain. In one of his later sketches, he mentioned the 
resentment he once felt, on hearing himself described 
as a ''Comiquef' Having, all his life, given the pub- 
lic genuine comedy, he had justly earned the title 
of '^comedian," in plain English. To be called a 
^'Comique," simply im.plied that his artistic rank 
was equivalent to that of any French clown who tries 
to be funny. In like manner, it seems to us, the title 
of ^'Artiste" — adopted by, and accorded to every 
nonentity and wastrel who disgrace the stage — must 
be derogatory to the repute of any real artist. When 
those who cannot even speak the English they are 
supposed to know, seek aggrandisement by adopting 
titles from the French they cannot pretend to know, 
an artist may well consider their ways and do other- 
wise. Anyhow, the French terms Comique" and 
''Artiste'' have their exact equivalents in English; 
and, to the man whose native language is the latter, 
the use of such foreign words is entirely needless. 
For an English-speaking man to call himself an 
''artiste" is mere affectation of a most transparent 
character. He uses the term because it sounds and 
looks more pretentious than "artist," though its mean- 
ing is just the same ; and that reason is self-evident. 

Reverting to the subject of "patter," here are two 
quotations from Aristotle. He says ^ — ''The excel- 
lence of diction consists in being perspicuous without 
being mean' ; and "In the employment of all the spe- 
cies of unusual words, moderation is necessary: for 
metaphors, foreign words, or any of the others, im- 
properly used, and with a design to be ridiculous, 

^ "Poetics," part 2, sec. 26. 



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145 



would produce the same effect/' That is to say, the 
improper use of words or phrases is just as ridiculous 
as though the intention were to provoke ridicule. 
That Aristotle knew what he was talking about is 
perfectly clear. Yet we, who were born some two 
thousand years after the date of his death, still find 
among us people who do not seem to understand these 
simple truths. And few there are who trouble about 
learning the right thing to say, or how to say it prop- 
erly. 

That is not as it should be, by any means. The 
human race has existed for some considerable time. 
During that period, a fair amount of knowledge has 
been gathered and made readily accessible to all, in 
every department of human activity. Then the man 
who, instead of learning what has been boiled down 
for his information trusts to luck in finding out for 
himself what others had discovered ages before he 
was born, cannot have sense enough ^'to come in out 
of the rain." Anyhow, the performer who stands 
before educated people with the intention of address- 
ing them in a mariner that will impress them favour- 
ably, must use the language that educated people 
speak. In so far as he fails to speak correctly, he 
will suffer ridicule and lose prestige. He should be 
master of his own language, though not necessarily 
a jc/foo/mastex. Pedantry, indeed, is entirely objec- 
tionable; but there is nothing pedantic in speaking 
properly. 

It is impossible to say here all that need be said 
upon the subject of patter. An entire treatise might, 
with advantage, be written upon it. But, before 



146 



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quitting the subject, there are one or two points to 
which we must refer. The first concerns the prac- 
tice of making remarks calculated to bring magic 
into contempt. For example, a magical humorist 
can be funny w^ithout making fun of his art. If he 
says things which tend to lower the public estimation 
of magic and magicians, he not only degrades him- 
self and his performance, but reflects discredit upon 
the whole magical profession. We cannot expect to 
raise the standing of magic and magicians, if the 
latter persist in debasing their profession by un- 
called-for japes and 'Svheezes," which present their 
calling in a false light. What respect can the pub- 
lic have for men who do not respect their own work? 
The only possible sentiment that can be aroused is 
contempt, pure and simple. Jokes in which magic 
is allied to humbug, swindling or chicanery of any 
kind, can only serve to rank the magician among 
swindlers and impostors. 

Although patter of that kind is, perhaps, the 
most detrimental to our general interests, there are 
other forms scarcely less objectionable in practice. 
Among these the practice of ''talking at" the audi- 
ence has a prominent place. People do not like to 
be talked at, whether they deserve it or not. In fact, 
the more they deserve it, the less they relish it. 
When, for instance, a performer finds his audience 
undemonstrative the very w^orst plan he can adopt is 
to show resentment or to make remarks concerning 
that fact. To do anything of the kind can only re- 
sult in making the spectators self-conscious, and 
more than ever reluctant to show appreciation. The 



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147 



people in front of the footlights must, if possible, be 
taken out of themselves — must be led to forget their 
own concerns, and made to think only of the per- 
formance they are witnessing. If induced to reflect 
upon the relations existing between the performer 
and themselves, and made to feel uncomfortable 
about what he thinks of them, spontaneous apprecia- 
tion and enjoyment become impossible. All chance 
of pleasure in the entertainment is destroyed, both 
for them and for him. 

In the same way, references to the hypothetical 
poverty of magicians as a class cannot be otherwise 
than detrimental to us all. Not only so, the poverty 
of artists, generally, has formed a stock subject for 
jesters since time immemorial. That subject has 
been done to death, and should be dropped entirely. 
The old jokes still raise a laugh, because some people 
can only see the jokes they know; but most people 
have long been sick of such antiquated substitutes 
for wit. 

Worse still, are references to the possible poverty 
of spectators. It is bad enough to find a performer 
suggesting his own familiarity with the pawn-shop, 
or his chronic inability to produce a shilling. But, 
when such jests are made at the expense of the audi- 
ence, the fault is ten thousand times more reprehen- 
sible. Such themes are not agreeable to anyone. 
What must they suggest, say, to the man who has 
attended a performance in the hope of finding relief 
from the memory of financial troubles? Even the 
careless youth who has pawned his watch in order 
to get money for giving his best girl a treat, cannot 



148 



OUR MAGIC 



feel very happy when topics of this kind are brought 
up. Then, surely, a performer will act wisely in 
refraining from the use of such debilitated jokes as 
— ''I can see a good many chains, but I suppose all 
your watches have gone to be repaired, just as mine 
has." There would be nothing particularly witty 
about such remarks, even were they original. When 
let off upon an audience at forty-secondhand, they 
have no pretence of merit, nor can they add anything 
to the general effect of a performance. 

Then, again, remarks concerning the suitability of 
a performance to a juvenile audience are, undoubt- 
edly, objectionable. One often hears a magician 
make a sort of apology for introducing a certain 
item, on the ground that ''so many young people are 
present." Could there be any readier method of 
bringing that item into contempt? Probably not. 
To present the thing as being especially suited to the 
mental capacity of juveniles must suggest to the 
adults that what they are about to see is beneath their 
appreciation. As to the juveniles themselves, the re- 
sult is even more disastrous. 

If there be one ambition more common than an- 
other to the youthful of either sex, it is the ambition 
to appear ^'grown up" so far as may be possible. 
Then, the mere fact of saying that what one is about 
to do will appeal to children especially, is enough 
to set every juvenile mind against the performance. 
Every boy, particularly, draws a mental distinction 
between himself and ordinary "children." Out of 
courtesy to his juniors and to the opposite sex, he may 
be disposed to tolerate what pleases children; but he 



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149 



wants to believe that what pleases him really is some- 
thing that is suited to the intelligence of his elders. 
To suggest that he requires children's fare can be 
nothing less than an insult to his understanding. 

The fact is, children understand a great deal more 
than their seniors usually believe. A public per- 
former, at any rate, should be aware of that fact, 
and should act accordingly. He has full opportu- 
nity for observing how very little there is that escapes 
the understanding of even quite young children. 
And, if he be capable of learning from experience, 
he must know that, to profess to bring his entertain- 
ment down to the level of childish intelligence 
cannot be good policy, from any point of view what- 
ever. 



CHAPTER XIII 

STAGE MANNER AND PERSONALITY 

To a public performer the value of an effective per- 
sonality is abundantly evident. But, in practice, it 
is as well to understand the extent to which person- 
ality alone is comprised in what commonly goes by 
that name. We believe that, to a great extent, what 
is called "personality" is by no means a natural 
possession, "bred in the bone." We regard it as be- 
ing, very frequently, a composite manifestation of 
qualities native and acquired. Habit is second na- 
ture, as everybody knows. Therefore, m.uch that 
passes as personality may be merely acquired habit; 
and should, correctly speaking, be described as the 
ability to hold the attention and excite the interest 
of an audience. That ability, of course, is a personal 
asset, and one of great value; but it cannot be re- 
garded as one in which personal characteristics are 
exclusively involved. Such influence over an audi- 
ence is often due to nothing more than a thorough 
knowledge of one's business, combined with the con- 
fidence due to long experience. It is mainly an ac- 
quired habit, and but slightly associated with real 
personality. 

There may be — indeed, there are — instances in 
which a performer's sole claim to public apprecia- 
tion has been derived from pleasing characteristics 

150 



MANNER AND PERSONALITY 151 



which Nature bestowed upon him. But, on the other 
hand, there have been performers who, although 
possessed of no such natural advantages, could ex- 
ercise upon an audience all the magnetic influence 
that attractive personality could create. Further 
than that, some performers, so heavily handicapped 
by Nature that one might think them possessed of 
every quality calculated to inspire aversion, have 
gained public applause and appreciation. Yes! have 
even achieved success in circumstances that would 
condemn many well-favoured men to .failure. The 
success attained by such men, no doubt, would be 
ascribed by their audiences to ''personality." We, 
however, regard the matter in another light. When 
a man's natural qualities, in themselves, are detri- 
mental to his powers of attracting appreciation, it 
cannot be personality that gains for him success in 
public. There must be other factors in the problem. 
There must be something of such value that it not 
only renders him successful without aid from "per-, 
sonality," but outweighs the detrimental characteris- 
tics operating against him, into the bargain. 

Such facts as these must have come within the 
experience of everyone. Then, in view of these 
facts, there seems but one conclusion that can be ra- 
tionally accepted. We are bound to conclude that 
what is called ''personality" consists, very often, in 
purely artificial methods acquired by the individual, 
and not natural to him. In other words, it consists 
in a knowledge of artistic requirements and of their 
harmonisation with personal peculiarities. By such 
means, a performer's natural disadvantages may be 



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not only disguised but actually made useful. The 
man who can achieve this is an artist, beyond all 
doubt; whereas the man who succeeds by virtue of 
personality alone, can claim no artistic merit what- 
ever. We owe him no praise for being as Nature 
made him. But to the man who impresses us fa- 
vourably, in spite of Nature's efforts to make him re- 
pellent, we owe all the praise that any artist can de- 
serve. 

At the root of this matter there is found the prin- 
ciple stated in Robert-Houdin's definition of a con- 
jurer, to which we have so often alluded. The man 
is an actor, as every magician should be. He does 
not appear to the audience clothed in his own per- 
sonality. He assumes, for the time, a personality 
not his own, but that of the magician he wishes to 
represent. It is that assumed personality which ap- 
peals to his spectators, and is by them regarded as his 
in fact. They are not allowed to see the man him- 
self, but only the man he intends them to see. 
Therein we have the highest art, of acting and magic 
alike. We may call it personality if we will, but, in 
truth, it is only personal by acquisition. It is no 
more a natural endowment than a suit of clothes, 
bought and paid for. It has been bought by experi- 
ence and paid for by labour and study. 

If this be the true state of the case, as it seems to 
be, there should exist but few men who are incapable 
of acquiring a "stage manner" that will pass for 
effective personality. A satisfactory "stage pres- 
ence,' of course, must mainly depend upon the gifts 
the gods have given. But a satisfactory stage man- 



MANNER AND PERSONALITY 153 



neV is a thing possible of acquirement, at the expense 
of thought and effort. There may be great difficulty 
in learning to play the part adopted. In most cases, 
perhaps, there is bound to be great difficulty. What 
of that? Almost everything worth doing at all is 
difficult to do. Hardly anything worth doing is 
easy to do. It is all in the day's work, anyhow. In- 
ferior work, easy to do, can only succeed by accident. 
Even then, although it may bring in cash, it will 
never bring credit. It will be ^'light come, light go," 
and there an end. Art is cast in another and a very 
different mould. And an artist, worthy of the 
name, cannot expect to have an easy time. The 
primrose path is not for him. Hard days and short 
nights are his natural expectation. 

It is not difficult to state the requirements of an 
effective stage manner, in general terms. But it is 
impossible to define the infinitely varied needs of in- 
dividual performers. What may be best in one case, 
may be unthinkable in another. In this respect, 
every performer must be a law unto himself. He 
may gain much aid from competent criticism of his 
procedure, but much more depends upon his own 
judgment and practical experience. His own com- 
mon sense, properly exercised, should be his best 
guide. Above all, he should never forget that the 
opinions of any Tom, Dick or Harry he may happen 
to meet will probably be worthless, and that the 
opinions of paid assistants are sure to be misleading. 
The man whose bread and butter one provides will, 
naturally, say what one would like to hear, even 
though it be at the expense of his personal convic- 



154 



OUR MAGIC 



tions, if such he may happen to possess. As a rule, 
his only convictions are derived from his employer. 
What the '^guv'nor" likes tnust be right. What the 
^^boss" believes, his employe will swear to — espe- 
cially if he would get sworn at for doing otherwise. 
Still, when a performer finds Tom, Dick and Harry 
invariably agree in a certain opinion, he will do well 
to consider that opinion dispassionately and seri- 
ously. 

Confining ourselves to generalities, we may state 
the requirements of an effective stage manner as fol- 
lows: First and foremost we must emphasise the 
need for cultivating an earnest desire to please. 
That is absolutely essential to success. The audi- 
ence can have no expectation other than that of being 
pleased by the performance paid for. People who 
pay to see what a performer has to show them, do 
so for their pleasure. Therefore, it is their pleasure 
that should have the chief consideration from the 
man who receives their money. He is not there to 
please himself. 

Next in order of importance may be placed the 
need for understanding human nature, especially in 
relation to public gatherings. Xo man thinks or 
feels the same at all times. The thoughts and senti- 
ments of all men vary in accordance with circum- 
stances. Humanity in the aggregate differs very lit- 
tle from humanity in the individual. Every audi- 
ence has its own particular characteristics, just as 
much as every person. The general character of 
either, for the time being, depends on the resultant 
influence of many causes acting together. At a pub- 



MANNER AND PERSONALITY 155 



lie performance, some of these causes will act in 
favour of the performer, others will act against him. 
The resultant influence will vary, from time to time, 
according to the direction in which the causes pre- 
ponderate. These are facts with which every per- 
former should be acquainted, and the operation of 
which he should fully realise. Unless he can under- 
stand that audiences are subject to the same acciden- 
tal influences as afifect individuals, and can realise 
that individuals are merely creatures of circum- 
stance, he is sure to be misled by appearances. He 
is sure to think that the apparent attitude of the audi- 
ence towards his performance has a personal relation 
to himself, either for good or ill. He will think that 
if the spectators immediately respond to his efforts 
he is successful; if they do not, that it is hopeless to 
try to please them. Whereas, in actual fact, he 
should never pay the slightest attention to the atti- 
tude of his spectators. That is an accidental phe- 
nomenon, entirely beyond his control. 

When a performer goes upon the stage, he should 
remember that he stands before people who have no 
personal interest in anything that he does. They 
may be in the mood to appreciate his work, or they 
may not. That has nothing to do with him. If the 
odds be in his favour so much the better for him. If 
not, so much the worse. In either case his audience 
is subject to a variety of influences, to which must 
be added the influence he himself can create. So 
far as he is concerned, what he has to do is to make 
his personal influence operate in his favour, to the 
utmost. That is all he can do, in any case; and, 



156 ' OUR MAGIC 



whatever may be the' odds against him, that is what 
he should do in every case. 

Another essential is the maintenance of good hu- 
mour. Since every audience is subject to the im- 
pressions received at the moment, and good humour 
in the audience is necessary to a performer's success, 
that is one of the most important impressions he must 
convey. No matter how ill-humoured an audience 
may be, the man upon the stage must appear to be 
in a good humour. In fact, the more out of humour 
he may find his audience the greater the need for 
a countervailing influence upon his part. His ef- 
forts in this direction will never fail to meet with 
their due reward. 

Diplomacy and expediency may be said to cover 
the entire ground in this connection. The performer 
must deal with his audience diplomatically, and act 
in accordance with the dictates which circumstances 
show to be expedient. Firmness of purpose, com- 
bined with the utmost courtesy, should govern every 
relation between a performer and his audience. 
Conscious ability exercised in the service of one's 
spectators is, perhaps, the most effective aid to suc- 
cess at any time; whatever else a performer may 
count to his advantage, or wherever he may other- 
wise fail. 



CHAPTER XIV 



MENTAL ATTITUDE 

Among the characteristics most objectionable -in 
a performer, self-conceit probably takes first place. 
There is all the difference in the world between 
this and conscious ability. The latter belongs to 
the man who knows his own capabilities, which 
have been acquired by prolonged study and effort. 
Self-conceit usually denotes the man who knows 
nothing with certainty but vainly imagines his per- 
sonal gifts to be superior to all knowledge. Believ- 
ing himself a heaven-born genius, he constantly 
proves himself an unmitigated ass. Average audi- 
ences will ''size him up" in a moment, and set up 
their backs accordingly. They could find no pleas- 
ure greater than that of taking him down a peg or 
two. That frame of mind is probably the worst an 
audience can adopt, so far as a performer's interests 
are concerned. The good-will of spectators is es- 
sential to his success, and their antagonism is to be 
avoided by every means. 

However detrimental to a performer may be the 
fault of self-conceit, it is scarcely more so than the 
failing of self-consciousness. Of course, when a 
performer is naturally self-conscious, he must remain 
so to the end. He may in time gain great control 
over his self-consciousness, but he cannot expect to 

157 



OUR MAGIC 



destroy it. Yet, however heavily he may be handi- 
capped by this defect, he must prevent the public 
from knowing how much he is overweighted, or he 
will never gain the confidences of his audiences. 
Some people will pity him; others will ridicule his 
efforts to entertain them; but, in the whole crowd, 
there will be none who will believe in him. There- 
fore, the first aim of every self-conscious performer 
should be to conceal the nervous affection with which 
he is afflicted, and which diverts towards his own 
person some of the attention he should devote ex- 
clusively to his work. He must learn the knack of 
keeping his mind from dwelling upon what specta- 
tors think about him. In short, he must realise that 
nobody cares a straw whether or not his necktie is 
straight, or his trousers are properly creased down 
the leg. 

The true remedy for this personal failing consists 
in cultivating the ability to assume a character more 
or less foreign to one's own. That ability is merely 
what is demanded of every actor in his daily work. 
And, as we have already had to admit, the man who 
cannot become a fairly good actor in one particular 
line at least, cannot hope for any great success as a 
magician. Then, the chief study of a self-conscious 
magician should be to assume the character of a self- 
possessed entertainer. Upon his ability to play that 
part primarily depends his success as an artist in 
magic. 

A tendency to panic in the event of any hitch oc- 
curring, is another detrimental characteristic. Some 
people are naturally cool in the face of an emergency. 



MENTAL ATTITUDE 159 



They may be nervous in the ordinary course of 
events, but an emergency steadies their nerves and 
braces up their energies. Others, and very often 
those v^ho possess the artistic temperament in a high 
degree, are liable to become agitated and distracted 
by any slight mischance. Thus, they suffer consid- 
erable disadvantage as compared with less sensitive 
men. Their real merits v^ill often be overshadov^ed 
by this failing, while men of inferior ability but who 
are able to keep cool may gain repute far in excess 
of their deserts. 

This defect also is capable of correction by means 
of mental training, as in the case of self-conscious- 
ness. The best remedy consists in acquiring a due 
sense of proportion, and bearing in mind Hamlet's 
words — "There is nothing either good or bad, but 
thinking makes it so." 

At all times, a performer should remember how 
greatly his own attitude may influence the thoughts 
of his spectators. His views and impressions may 
not always be shared by those who witness his per- 
formance. The audience may not be disposed either 
to accept his abilities at his own valuation, or to 
agree with the opinions he expresses. But it is prac- 
tically certain that the relative importance of any 
detail in his performance will be estimated by his 
own attitude towards it. Thus, any exhibition of 
panic or discomfiture at once invites the contempt 
and derision of his audience. Whereas, if he can 
only control his faculties sufficiently to make light 
of an accidental mischance, the audience will hardly 
give a second thought to the circumstance. 



i6o 



OUR MAGIC 



Those who perform in public must invariably be 
prepared to make the best of whatever may happen, 
even of the very worst that can possibly happen. 
This can only be done by discarding everything in 
the nature of agitation or worry, which are the 
surest means for making the worst of any conceiv- 
able situation. Distractions of that kind only waste 
energy which should be employed to better ends, in 
providing a remedy for whatever may be wrong. 
Even though the worst may happen, and there is no 
possibility of finding a way out of some difficulty or 
other, it is not a matter of life or death, and the per- 
former therefore need suffer no great anxiety. Even 
though he must tacitly confess to complete failure 
in one of his feats, he has no cause for serious dis- 
tress. There is always another day to-morrow, in 
which present defeat may be turned to victory. His 
immediate aim should be to minimise the importance 
of his mishap, so far as may be possible. In outward 
appearance, at any rate, he should make light, of it. 
If he can do no better, he should simply laugh at 
his own ill-luck and pass on to his next item. A 
well-chosen witticism concerning the malignity of 
matter, the total depravity of inanimate objects or 
the natural uncertainty attending the "schemes of 
mice and men" will usually turn the laugh in his 
favour. When a mishap can be passed off in this 
way, ridicule is disarmed at once and no unfavour- 
able impression remains in the minds of spectators. 
On the other hand, when a performer displays vexa- 
tion and anxiety with regard to a mishap, he merely 
assists in turning the laugh against himself. To 



MENTAL ATTITUDE i6i 



laugh at the discomfiture of others is a natural tend- 
ency of humanity at large and, in this respect, all 
audiences are very human indeed. If anything goes 
wrong — or, rather, we should say when anything 
goes wrong, the audience is almost sure to laugh. 
Therefore, it is for the performer to see that his spec- 
tators laugh with him; and not at him, as they are 
sure to do if he loses his head. 



CHAPTER XV 



THE IMPORTANCE OF ARTISTIC PRINCIPLES 

Having now covered the range we had mapped out 
for this section of our book, we will end with a few 
remarks upon the real importance of our subject. 
It is to be feared that the majorit}^ of readers will 
largely fail to grasp the true significance of much 
we have said. Not that we attach supreme value 
to our own contributions to general knowledge, but 
that portions of the subject itself will probably be 
regarded as of little consequence in practice. The 
aspect in which we have viewed the matter is by no 
means novel in connection with art in general. In 
relation to magic, however, our point of view is so 
unusual that many people are sure to think we have 
been trying to put forward ideas which are entirely 
novel and, at times, somewhat eccentric. 

We beg to assure those who have formed any such 
opinion that they are entirely mistaken in their con- 
clusions. What we have said about Art in Magic 
has its foundation in what has, long ago, been said 
and accepted in connection with other arts. The 
views we have expressed have their analogues in the 
views long since adopted by exponents of other arts, 
and endorsed by the highest authorities upon art of 
every kind. Thus, we have not attempted the crea- 
tion of new principles or new standards, but have 

162 



ARTISTIC PRINCIPLES 163 



merely adapted to the art of magic those principles 
and standards already common to art in general. 

In order to bring magic into line with other arts 
the first step, obviously, must be to associate with 
it those principles and traditions whereby other arts 
are governed. In so doing, there is no question of 
bringing magic under the control of artificial and 
needless conventions. The accepted ideas of artistic 
rectitude have not been prescribed by illogical tyr- 
anny. They are conceptions evolved, in the course 
of ages, through the mental activity of many able 
men, to whom experience gave wisdom in their re- 
spective generations. If we wish to prove the claim 
of magic to rank upon an equality with other arts, 
we must first of all establish its relation to recognised 
artistic principles and ideals, both in theory and in 
practice. 

In this respect, the greatest danger to be feared 
consists, not in the possible opposition of young 
magicians seeking a royal road to success, but in the 
antagonism of those who have already fought their 
way to the front rank and, by virtue of their in- 
nate sense of artistry, have become successful ex- 
ponents of magic. This latter class represents the 
greatest potential stumbling-block to be dreaded by 
those who realise the proper course to pursue. The 
reason is that men who, by rule of thumb, have 
learned something of artistic presentation are the 
least likely to appreciate the value of systematic 
knowledge. So long as they are able to stumble 
successfully along the paths of art, without knowing 
exactly where they want to go until they get there, 



164 



OUR MAGIC 



they cannot understand why any other method should 
be preferable. In the light of their own practical 
experience, they can eventually reach a position 
somewhere in the vicinity of their proper destination, 
and with that they are content. That is what they 
regard as artistic procedure. It never occurs to 
them that, by systematising the knowledge they pos- 
sess, they could learn how to avoid the uncertainty 
they feel at every step they take, and how to go 
straight to their destination instead of having to 
grope their way along devious side-tracks. 

As to those who have not the aid of long experi- 
ence to rely upon, there can be no doubt of the value 
to them of definite principles whereby their proper 
course may be decided, thus securing freedom from 
many disasters which would otherwise be inevitable. 
Since they have to learn their business somehow, they 
may as well learn it properly. It is quite as easy 
to learn in either way, and the proper way will save 
them a lot of trouble in the end. If, in addition, to 
the how of their business, as represented by "tips," 
"wheezes," "sleights," and "fakes" they will also 
learn the why as revealed by a knowledge of artistic 
principles, they will find great advantage therein, in- 
creasing constantly with experience gained. 

Then, to those magicians who are still in the early 
stages of their career, we would earnestly suggest the 
advisability of giving due attention to the aspect in 
which we have presented to their view the art they 
profess to esteem — which they profess to regard as 
something higher than a mere source of profit. We 
do not ask them to take anything for granted. The 



ARTISTIC PRINCIPLES 165 



blind acceptance of any doctrine whatever, is a thing 
we would advise them to avoid, at all times, as a most 
pernicious fault. We only ask them to think for 
themselves, and to think seriously. It was the late 
Professor Huxley, we believe, who said that ''irra- 
tionally held truths are more harmful than reasoned 
errors." Anyhow, that fact and the necessity for 
bringing reason to bear upon ignorance and indiffer- 
ence are the essential points we have tried to illus- 
trate. 

To those magicians who have already achieved 
success and have established a claim to artistic merit, 
we would say that what we have written is no new 
thing intended to supplant the knowledge they pos- 
sess, or to 'oppose the experience they have gained. 
If they will only efface from their minds all prej- 
udice and bias, they will surely find that we have 
simply put into definite shape and order the con- 
siderations upon which their experience has been 
founded, and from which their knowledge has been 
derived. 

To all magicians alike, we would say that unless 
and until they study their art upon lines such as we 
have endeavoured to indicate, any real elevation in 
the status of magic must be impracticable. Due 
recognition of the artistic claims of magic and magi- 
cians can only be brought about by proving that 
those who practise magic are something more than 
common jugglers, on the one hand, or common me- 
chanical tinkers, on the other hand. Illusionists, 
prestidigitateurs, and general practitioners alike, 
must give proof of their artistic qualifications. This 



OUR MAGIC 



they can only do by realising that magic is essentially 
an intellectual pursuit and treating it as a true art — 
not merely as an embodiment of more or less intel- 
ligent skill. 

We do not claim to have said the last word upon 
this subject, nor to have set down infallible precepts 
throughout the entire course of our enquiry. We 
are well aware that innumerable details of more or 
less importance have been left untouched, and we 
have probably expressed some views, upon minor 
points, which may be more or less open to question. 
Yet, with regard to general principles, we are fairly 
confident of having kept within the bounds of rea- 
sonable accuracy. Our immediate aim has been to 
induce magicians to think, by giving them something 
worth thinking about. We are well aware that there 
exists no class of men whose work receives more 
earnest thought than that of the average magician. 
What we suggest is that, although magicians are 
studious and energetic men, they too often fail to 
think artistically. They are too liable to regard 
their profession as a branch of ''show business," 
rather than a branch of true art. In this section we 
have tried to help them in correcting that failing, by 
pointing out the lines upon which their ideas must 
run if, by virtue of their calling, they expect to rank 
as artists. Being public entertainers, they have open 
to them the path which leads to artistic repute of no 
mean order. If they do not choose to follow that 
path, they cannot expect to attain a high position in 
the world of art. Not only so, every magician who 
turns his back upon the road to artistic merit helps 



ARTISTIC PRINCIPLES 167 



to degrade the status of the entire magical profession, 
and to create obstacles to the advancement of magic 
itself. 

Although, in our endeavour to correct certain er- 
rors, we may have fallen, here and there, into errors 
of another kind, we feel no compunction on that 
score. No man is infallible, and only one man is 
supposed to be so. Even he could scarcely be ex- 
pected to make no mistakes in dealing with questions 
concerning any form of art. The Pope himself 
could not hope to settle such questions right ofif the 
reel. If we have succeeded in providing food for 
discussion, and in persuading some of our fellows 
to think about and discuss the points we have raised, 
that is all we can reasonably hope to have achieved. 
We have simply done our best to carry out work 
which somebody was bound to undertake, because 
the necessity had become imperative. Our future 
responsibility in the matter will be confined to aiding 
whatever efforts others may make in correcting or 
amplifying the views we have stated. We are con- 
fident that, as time goes on, the importance of this 
particular aspect of magical theory will become in- 
creasingly evident, at any rate to those who give the 
subject their honest and unbiassed attention. 



PART II 
THE THEORY OF MAGIC 



I 

4 



CHAPTER I 

TERMINOLOGY 

To say that modern magic is dominated by confusion 
of ideas would scarcely be an overstatement of the 
case. As a natural consequence the study of magic 
is too often conducted upon lines that demand a 
maximum expenditure of energy in obtaining a min- 
imum of resultant benefit. The student is improp- 
erly occupied in a protracted attempt to evolve order 
out of chaos; endeavouring to straighten out for 
himself a path which should already have been made 
straight for him. Instead of being devoted to a 
definite and straightforward course of study his mind 
is condemned to wander aimlessly among a multi- 
tude of apparently disconnected details, which are 
subject to no general laws, and are devoid of every- 
thing in the nature of system or order. Indeed, the 
chaotic state into which the technical side of magic 
has been allowed to drift leaves the student in much 
the same plight as that of an untrained boxer who is 
told to "go in and win.'' 

To many people, indeed, it may come as a sur- 
prise to learn that any such thing as a theory of 
magic can possibly exist. The idea that magic is, 
necessarily, an exact science, capable of systematic 
treatment, seems lost to view, as a rule. The com- 
monly accepted notion is that the technical side of 

171 



172 



OUR MAGIC 



magic consists in a heterogeneous conglomeration of 
odds and ends; of isolated facts and dodges which 
are beyond correlation. This unsatisfactory state of 
afifairs, of course, is but an obvious consequence of 
the disorder in which magical science has become 
involved, throughout its entire constitution. 

There is, as we propose to show, no reason why 
magic should be subjected to this exceptional disad- 
vantage. Its technicalities are no more heterogene- 
ous than are those of physical sciences in general. 
The facts and principles it embodies are no less 
amenable to order than are analogous details in- 
cluded in other subjects. In short, the technical side 
of magic is readily capable of being systematised and 
co-ordinated upon a scientific basis and, accordingly, 
reduced to the form of a complete and harmonious 
system, governed by rational theory. 

The false conceptions that prevail in reference to 
magic are, we believe, largely due to the looseness of 
phraseology which, among other slipshod characteris- 
tics, has been fostered by performers and public, 
alike. In other subjects, no doubt, there often exist 
matters which are doomed to popular misconception. 
But, probably, magic stands pre-eminent among sub- 
jects which are generally misunderstood. In most 
subjects, however, the theory has been amply investi- 
gated, the essential facts and principles have been 
clearly demonstrated, and the meanings of technical 
terms definitely prescribed. In magic, on the con- 
trary, such matters have received but scant attention, 
with the result that chance and not system has gov- 
erned its development and progress. Thus, we find 



TERMINOLOGY 



173 



the subject interwoven with ill-arranged ideas which, 
in turn, have given rise to a vagueness of definition, 
making confusion worse confounded. 

Take, for example, the word ''trick." Apart from 
magic, everybody knows its meaning. But, when 
used in connexion with things magical, the word 
"trick" becomes not only vague as to its definition, 
but also a most fertile source of misunderstanding 
and false judgment. Worst of all, the term is so 
dear to magical performers that they cherish it, in 
all its vagueness, as something even more precious 
and more deeply significant than ''that blessed word 
Mesopotamia." It is made applicable to almost 
anything and everything relating to magic, apart 
from either rhyme or reason. The result naturally 
produced by such folly might readily be foreseen. 
The public has become educated in the belief that 
magic consists in the doing of "tricks," and in noth- 
ing beyond that (presumably) trivial end. At the 
same time, as we have already noted on page 60, 
there has arisen the habit of associating magical pres- 
entations with the appliances or accessories used 
therein, and of regarding as practically identical all 
experiments in which a certain accessory or form of 
procedure is adopted. 

Now, it cannot be too clearly understood that 
magic does NOT solely consist in the doing of tricks ; 
nor can it be too often impressed upon the public that 
the object of a magical performance is not the offer- 
ing of puzzles for solution. But, so long as magi- 
cians insist upon miscalling their feats by the name 
of "tricks," so long will the public insist upon re- 



174 



OUR MAGIC 



garding magic as being primarily intended to invite 
speculation upon ''how it is done." Professor Hoff- 
mann, the doyen of magical \Yriters, has expressed 
himself in no uncertain tone concerning the persist- 
ent misuse of this unfortunate word "trick." To 
him, the description of a magical feat or experiment 
as a ''trick" is utterly abhorrent. He objects, as we 
do, to that misuse of the word. He prefers, as we 
do, the word "experiment." Clearly, in any magical 
presentation, the "trick" must be the means whereby 
a certain end is attained or promoted. It is the 
cause which produces a certain result, and cannot 
possibly be both means and end together. There- 
fore, to describe a magical experiment, feat, or pres- 
entation as a "trick," is a "terminological inexacti- 
tude" of the first order. It is an ofifence against good 
sense and artistic propriety, deserving the fullest 
condemnation. We ourselves are at times com- 
pelled to use the word in this illegitimate sense, be- 
cause it has been incorporated in the titles of cer- 
tain well known experiments. We do so, however, 
with extreme reluctance, and only under protest. 

It is obvious that, before one can attempt a ra- 
tional statement of any kind, all parties concerned 
must definitely understand the meaning attached to 
the terms in which that statement is to be made. 
Otherwise, it is impossible to convey accurate in- 
formation. Then, at the outset, our treatment of 
magical theory must embody a few remarks, by 
way of clearing up some of the misconceptions and 
slipshod vagaries associated with the terms em- 
ployed. There is no need to deal categorically with 



TERMINOLOGY 



175 



the errors prevalent in this connexion; nor, indeed, 
to do so much as to enumerate them. It will be 
sufficient for us to set down the meanings which 
ought to be attached to the terms we use, and which 
are accordingly intended to be understood herein. 

The first and most important definition, of course, 
is that of the term ''Magic" itself. In ancient times, 
the word implied the setting aside of natural laws, 
in some manner or other. But, since the ancients 
had a very limited knowledge of the laws of nature 
— or, practically, no accurate knowledge whatever, 
concerning the forces by which the laws of nature 
are made manifest — "magic" was once a term used 
to denote the cause of any event or achievement be- 
yond the explanation of popular intelligence. In 
much the same way, modern investigators of so- 
called "psychical" phenomena describe as super- 
normal any event for the occurrence of which phys- 
ical science is not yet able to account. Nevertheless, 
we who live in the Twentieth Century are, or should 
be, aware that the laws of nature cannot possibly 
be contravened. They may be set in mutual oppo- 
sition, but they cannot otherwise be overcome or 
defied. The forces of nature, humanly speaking, are 
incapable of either destruction or suspension. 
Therefore, at the present day, the term "magic" 
must have a meaning very different from that as- 
signed to it in bygone centuries. The only mean- 
ing it can now possess must relate to the apparent, 
not actual defiance of natural laws. 

Modern magic, therefore, deals exclusively with 
the creation of mental impressions. We cannot 



176 



OUR MAGIC 



perform real miracles, as everybody is well aware. 
We can only perform feats which look like miracles, 
because the means whereby they are performed have 
been skilfully screened from observation. Then, in 
order to define the nature of modern magic, we 
must find some formula that will represent the com- 
mon foundation of all the apparently miraculous 
effects we produce. Since those effects are not 
really, but only apparently, due to miraculous 
processes, there is no difficulty in arriving at a sat- 
isfactory definition of the meaning now applicable 
to the word ''magic. Here it is: — 

Magic consists in creating, by rnis direction of the 
senses, the mental impression of supernatural agency 
at work. 

That, and that only, is what modern magic really 
is, and that meaning alone is now assignable to the 
term. 

The miodern magician does not deceive his spec- 
tators — that is to say, the legitimate magician. The 
modern charlatan, of course, has no more conscience 
than his predecessors. He will deceive anybody 
who will give him the chance, and he will try to 
deceive even those who don't; just to make sure of 
missing no possible opening for chicanery. He and 
the legitimate magician, however, are wide as the 
poles asunder, in aim and procedure. A legitimate 
magician never deludes his audiences as to the char- 
acter of his performance. He makes no claim to 
the possession of powers beyond the scope of phys- 
ical science. Neither does he, while rejecting the 
suggestio falsi, substitute in its place the suppressio 



TERMINOLOGY 177 

veri. That method is one frequently adopted by 
charlatans in magic. The latter gentry often re- 
frain from committing themselves to any definite 
statement on the subject of their powers. In effect, 
they say to their spectators. "We leave you to de- 
cide upon the nature of our feats. If you can ex- 
plain the methods we employ, you will know that 
what we do is not miraculous. If, on the other 
hand, you cannot explain our methods you will, of 
course, know that we have the power to work mir- 
acles." 

Since the majority of people attending public 
performances cannot explain the simplest devices 
used in magic, it is scarcely likely that persons of 
such limited capability will arrive at any satisfac- 
tory explanation of processes involving even a mod- 
erate degree of complexity. Consequently, the 
mere reticence of the charlatan suffices to convince 
many people that ''there is something in it." So 
there is, no doubt; but, usually, not much. Cer- 
tainly, nothing such as the innocent dupe conceives. 

The distinguishing characteristic of a legitimate 
magician is his straightforwardness. He makes no 
false pretences, either by suggestion, implication, or 
reticence. This present treatise of course, relates 
only to legitimate magic; and, therefore, our defini- 
tion of the term is limited to misdirection of the 
senses, exclusively. We have nothing to do with 
fraudulent, or semi-fraudulent deceptions of intelli- 
gence, as practised by unscrupulous adventurers. 

The misdirections of sense which constitute magic 
as a whole, may be divided into three groups, ac- 



178 



OUR MAGIC 



cording to the nature of the processes upon which 
they are respectively based. Thus, magical proc- 
esses are, in character, either Manipulative, Mental, 
or Physical. These groups represent the three tech- 
nical orders of magic. 

Each of these orders may be sub-divided into vari- 
ous classes or Types, according to the general nature 
of the principles they include. 

Each Class or Type may, again, be sub-divided 
into minor groups, according to the particular Prin- 
ciples or Methods respectively involved. 

Each of these latter groups may be further sub- 
divided into specific categories, in accordance with 
the particular tricks or devices in which the various 
principles or methods are utilised. 

Lastly, we have the sub-division of classes into 
specific groups, determined by the nature of the re- 
sults attained. 

It would, of course, be possible to still further 
classify magical processes, in accordance with the 
objects used in connexion with them, and other de- 
tails of staging and procedure, but no useful purpose 
could be served by so doing. From the foregoing 
dissection of magic we arrive at a number of defini- 
tions, as follows: — 

A magical Process is essentially a means for mis- 
direction of the spectator's senses. It belongs to 
one of the three Orders of magic — Manipulative, 
Mental or Physical. 

The Type of a magical process implies the general 
character of the principles it embodies. 

A magical Principle or Method is a basis upon 



TERMINOLOGY 



179 



which a number of tricks or devices may be 
founded. 

A magical Trick or Device is an invention, by 
means of which a certain principle is utilised for the 
production of a given result. 

A magical Effect is the final result due to the use 
of a certain trick, or tricks in combination. 

A Feat of magic consists in the successful per- 
formance of a magical experiment — the accomplish- 
ment of a magician's intended purpose. 

A magical Experiment consists in attempting the 
production of a magical effect — or, in other words, 
the attempted accomplishment of a feat of magic. 

In accordance with these definitions any magical 
experiment may be traced to its origin or, at any rate, 
be assigned to its proper place in the general scheme. 
It must not, however, be imagined that a magical 
experiment is necessarily confined within the limits 
of one group, class or order. On the contrary, it 
may embody a number of individual tricks or de^ 
vices, each of which is referable to its own particular 
line of origin. This point will become increasingly 
evident as we proceed. Incidentally, it will serve 
to demonstrate the utter absurdity of describing a 
magical experiment as a ''trick." Such experiments 
not only may, but usually do, include quite a number 
of tricks, entirely diverse in character. The com- 
bination of those tricks for the purpose of producing 
a certain effect constitutes an invention, which could 
be protected by law. The production of that par- 
ticular result by means of that combination of tricks 
constitutes a magical feat. The presentation of that 



i8o 



OUR MAGIC 



feat, with a view to producing an intended effect, 
constitutes a magical experiment. It is, beyond 
question, an experiment; because its success must de- 
pend upon the performer's ability, coupled with a 
fortuitous absence of adverse circumstances. 

With this preamble, we may now proceed to the 
systematic dissection of magical theory, upon com- 
monsense lines. We may hope to show, presently, 
the foundations upon which modern magic is based, 
the manner in which the entire superstructure of 
magical achievement has been raised, the possibilities 
awaiting development at the hands of m.agicians, and 
also the directions in which future developments may 
be most readily brought about. We do not aim at 
the description of any and every magical feat ever 
performed. The existing literature of magic amply 
provides for the needs of those who seek to know 
'^how it is done." Rather, we wish to aid originality 
by giving original explanations and suggesting orig- 
inal ideas. 



CHAPTER II 



GENERAL ANALYSIS 

We have already pointed out that magical technics 
may be dealt with under three principal headings, 
according to the nature of the processes involved. 
Thus, we have the three Orders of Magic — Manip- 
ulative, Mental and Physical. 

Manipulative Magic is that which depends upon 
what is called ^'sleight of hand." In other words, it 
is a form of jugglery. 

Mental Magic is the branch comprising, mainly, 
the various secret processes which a performer 
"works out in his head," during his performance. 

Physical Magic, by far the most extensive and 
most important branch, includes those processes 
which depend upon the use of mechanical appliances, 
or other adaptations of the physical sciences in gen- 
eral. 

These three groups, as we have previously stated, 
are fixed and determinate only so far as concerns 
the typical processes used in magic. They must not 
be regarded as a classification of Magical experi- 
ments. In fact, very few of such experiments are 
dependent upon one order of magic alone; while, 
in many cases, they involve a combination of all three 
orders. These sub-divisions of the subject relate to 
the general character of magical processes, rather 

i8i 



l82 



OUR MAGIC 



than to the feats or presentations in which those 
processes are employed. The due distinction be- 
tween experiments and their associated processes is 
of considerable importance in magical theory. 

Passing on to the sub-division of respective Orders 
according to class or type of process, we find that 
Manipulative Magic has four departments. These 
may be set down under the headings of Pre-arrange- 
ment, Concealment, Interposition, and False Han- 
dling. 

Mental Magic is not so readily divisible in accord- 
ance with the actual type of processes employed, 
since the matter is so largely complicated by ex- 
traneous assistance of various kinds. Still, for prac- 
tical purposes, there are three sub-divisions which 
will be found satisfactory. These are Thought 
Transference, Memorisation, and Divination. 

Physical Magic can be appropriately sub-divided, 
according to the departments of science or invention 
to which its component types respectively may be 
assigned. Thus, there are six Classes in this branch 
of magic, viz., the Mechanical, Optical, Acoustic, 
Electrical, Chemical, and Molecular. 

The foregoing Classes or Types may, again, be 
sub-divided into groups according to the various 
Principles or Methods involved, as follows: — 



Manipulative Magic. 



CLASS OR TYPE. 



PRINCIPLE OR METHOD. 
Collusion 



Pre-arrangement 




GENERAL ANALYSIS 183 



r Covering 

Concealment \ Disposal 

[ Retaining 
Loading 

Interposition 



Duplication 
Substitution 
C Forcing 



False Handling -j Securi 



ing 



[ Transposition 



Mental Magic, 
class or type, principle or method. 



Thought Transference 



' Code Work 
Secret Speech 

Secret Conveyance of Docu- 
ments. 
. Duplicate Reading 

^ r . ^. r Artificial Memory 

Memorisation ^ ^ . ^ 

y Counting Down 

r Clairvoyance 

Divination \ Discovery 

I Prediction 



Physical Magic. 



CLASS OR TYPE. 



Mechanical 



PRINCIPLE OR METHOD. 

' Outer Casing 
Concealed Access 
Secret Cavity or Receptacle 
Diverse Formation 
Double Facing 

Concealed Mechanism or Mo- 
tive Power 
Concealed Connection 
. Invisible Suspension 



1 84 



OUR MAGIC 



Optical 



Electrical 



Physical Magic (continued) . 

Mirror Masking 
Reflected Images 
Transparent Reflectors 
Lantern Projection 
Background Work 
Chiaroscuro 

{Misdirection by Sound 
Conveyance of Sound 
Disguise by Sound 

Conveyance of Motive Powet 

through Supports 
Trigger Action by Current 
Ignition 

Electro-telegraphy and Te- 
lephony. 

Apparent Transformation of 

Substance 
Ignition 

Change of Colour by Chemical 
Reaction 
^ Invisible Writing 

' Change of state, from solid to 
liquid, from either to gase- 
ous or vice versa 
Change of colour, properties, 
or dimensions by variation 
in temperature, pressure, 
etc. 



Ch 



emicaJ 



Molecular 



Beyond this point we do not propose to carry the 
classification of magical technics. The tv^o remain- 
ing sub-divisions, although undoubtedly essential to 



GENERAL ANALYSIS 185 



the theory of magic, can only be dealt with in a 
general sense. The items are, in fact, too numerous 
for tabulation and, fortunately, there is no need for 
attempting the work. The foregoing analysis will 
suffice for all purposes in which detailed classifica- 
tion is really necessary. 

In this connexion, there is one matter that well 
deserves attention. We have made an exhaustive 
analysis of the principle components embraced in the 
subject of magic. We have set down a list of the 
general principles, methods, and types of process 
comprised in the technical side of magic. Yet, in 
this catalogue of essential constituents, forming the 
very basis of magic, there is not included one single 
trick. We commend this reflection to those who 
believe magic to consist wholly in ''tricks." 

It is not until we have classified the principles 
and methods employed in magic, that we come to 
the particular tricks or devices in which those tech- 
nical principles and methods are embodied. Thus 
a ''trick" is but a very small thing, in comparison 
with other essentials in magic. It is but a particular 
detail in the general scheme. An important detail, 
no doubt, but not of supreme importance. More 
often than not, it could be replaced by an entirely 
different device, which would answer the same pur- 
pose equally well. 

This fact becomes evident when we pass on to the 
final sub-division, according to the results attained 
by means of magical tricks. The final sub-division, 
be it remembered, from a technical standpoint. On 
artistic and other grounds, it would be possible to 



i86 



OUR MAGIC 



continue the sub-division of magic indefinitely. 
Technically, however, the immediate result pro- 
duced by the employment of a certain trick represents 
the ultimate basis for classification. 

By way of practical illustration, we will suppose 
that some member of a magician's audience has 
chosen a card from the pack handed to him. The 
performer takes the pack, and begs the spectator to 
replace his chosen card therein. The card, accord- 
ingly, is replaced. In the act of turning towards the 
stage, the performer makes the ''pass," and brings 
the chosen card to the top of the pack, ready to be 
produced in any manner preferred. Now let us 
analyse this procedure, which is common enough, in 
all conscience. 

To begin with, we have a certain result — the find- 
ing of a chosen card. In producing this result, a 
certain trick was employed — the "pass." That trick 
embodies a certain principle or method — transposi- 
tion. The principle in question belongs to a certain 
class or type of process — false handling. And, fi- 
nally, the type of process described as ''false han- 
dling" belongs to the order of Manipulative Magic. 

In like manner, every magical operation may be 
subjected to technical analysis, and thereby a clear 
understanding may be gained of its true nature and 
position in the general theory of magic. Of course, 
not every result attainable by magical processes is so 
simple as the foregoing in its genesis. Some results 
are due to a combination of processes, each of which 
has its own separate origin. But, however simple 
or however complex may be the operations concerned 



GENERAL ANALYSIS 187 



in producing a given result, their source or sources 
can be traced quite readily. It is in such systematic 
forms of investigation that the science of magic has 
its foundation. And it is by such means alone that 
accurate conceptions are to be obtained, and rational 
progress facilitated, in consequence. 



CHAPTER III 



MISDIRECTION 

That time-worn fallacy, ''the quickness of the hand 
deceives the eye" might well form the text for this 
present chapter. As an example of how not to do it, 
the catch phrase in question cannot easily be sur- 
passed. Its falsity is so glaring, the principle it 
embodies is so impossible— and for obvious reasons 
— that one can only marvel at the audacity which 
first ofifered such a flagrant howler for public ac- 
ceptance. Yet, in spite of its palpable absurdity, 
that ancient legend has not only been accepted 
as gospel by the public, but has also received pro- 
fessional endorsement, times out of number. This 
is misdirection, with a vengeance ; but it is not the 
kind of misdirection which, as we have said, con- 
stitutes the fundamental basis of magic. 

No! The form of misdirection represented by 
the phrase we have quoted can only be described as 
lying, pure and simple. The quickness of even a 
highly skilled hand cannot deceive an attentive eye, 
however untrained the latter may be. In fact, of 
all possible movements, one that is rapid is most 
likely to attract attention. Still, the world undoubt- 
edly believes that a magician's success largely de- 
pends upon the quickness of his movements. And, 
be it whispered, one may occasionally meet with 

1 88 



MISDIRECTION 



professional magicians who entertain much the same 
belief. This fact is typical of the confusion asso- 
ciated with matters magical, in every department. 

The misdirection which forms the groundwork of 
magic does not consist in telling lies, with the object 
of deceiving the spectator's intelligence. It consists, 
admittedly, in misleading the spectator's senses, in 
order to screen from detection certain details for 
which secrecy is required. It militates against the 
spectator's faculties of observation, not against his 
understanding. Broadly, it may be said to comprise 
three general methods, viz. — Distraction, Disguise, 
and Simulation. Every means employed by magi- 
cians for misdirecting the senses of an audience, will 
be found allied to one or other of those elementary 
principles. 

The principle of Distraction is, perhaps, that most 
commonly utilised. It operates by direct appeal to 
the spectator's observation, whereby the latter is 
drawn away from whatever the performer wishes to 
conceal. It is a ^'red herring drawn across the 
scent," so to speak; and the introduction of such red 
herrings is often an important item in the procedure 
connected with a magical experiment. The more 
direct the challenge, the more certain is observation 
to be drawn towards the quarter in which the dis- 
traction arises. The more haphazard the distraction 
appears to be, the less likely is it to arouse suspicion 
as to its true purpose. A carefully pre-arranged 
"accident" is the most perfect form of misdirection 
— for one occasion only. It will not work efficiently 
twice, with the same spectators. 



190 



OUR MAGIC 



For point-blank distraction, we can recall no 
better example than that provided by a foreign per- 
former, who appeared in London some years ago. 
Speaking no English, he employed an interpreter, 
who spoke some English — though not anything ex- 
cessive. Holding up, say, a borrowed ring, the per- 
former would remark ''Void la bagueT' the inter- 
preter immediately following on with "And here is 
a piece of paper!" The latter sentence, being ut- 
tered in a very loud voice, created a distraction which 
took away all observation from the performer, giv- 
ing him an opportunity to submit the ring to a process 
of transposition. When the eyes of the audience had 
returned to the performer, the original bague was 
represented by deputy. 

It is, however, very seldom that distraction of so 
direct a nature as this can be employed. More 
often than not, the distraction is mainly derived from 
some action on the part of the magician himself. 
Hence, we learn the importance of the maxim that, 
when a magician has anything "magical" to do, he 
should never look at what he is doing. For, above 
all other actions, a movement of the performer's 
eyes is the most certain to be followed by an audi- 
ence. A very fortunate thing for the magician, too; 
so long as he bears the fact in mind. If, owing to 
nervousness or uncertainty, he permits his eyes to 
glance at what he does not want the audience to see, 
hundreds of eyes will take the same direction, at once. 

A magical performer should practise the art of 
"looking out of the corner of his eye." It is not a 
difficult art to acquire; and, at times, may be found 



MISDIRECTION 191 



extremely handy. The schoolmaster, with head bent 
down, and eyes intently fixed upon the answer he is 
correcting, has no difficulty in bowling out Smith 
minor, who is playing the goat behind the end form. 
In like manner, a magician should be able to see 
almost everything he can need to see, without actually 
looking at it. No doubt some eyes are better adapted 
than others for this purpose, while, in most eyes there 
is one particular direction in which this sidelong 
vision is easiest to manage. But, in any case, it is 
worth a magician's while to try what can be done 
by practice. There need be no time wasted over it, 
as the method can be practised anywhere and at any 
odd moment. 

A familiar example of misdirection by gaze is 
that of looking at the wrong hand, during manip- 
ulative feats. The billiard ball, let us say, has been 
passed (apparently) from the right hand to the left. 
Both hands have their backs to the audience; the 
left fingers being closed as though grasping the ball, 
and the right fingers outspread as though the ball 
were not still in that hand. Meanwhile, the per- 
former stares hard at his left hand until such time 
as the supposed ball has been dribbled away to noth- 
ingness. It would be interesting to know if any 
spectator is ever misled by this particular manoeu- 
vre. Not very often, one would imagine. Anyhow, 
it illustrates our point, very forcibly. No matter 
how unskilful a performer may be, when presenting 
this little feat of manipulation he feels, instinctively, 
the urgent need for keeping his eyes fixed upon the 
hand which does not contain the ball. It is not until 



192 



OUR MAGIC 



his right hand drops to the bend of his right knee, 
or rises to the tip of his left elbow, that he feels 
safe in looking where the ball really is. 

When, in addition to looking in a certain direc- 
tion, the performer points towards and calls atten- 
tion to a particular object, the distraction thus cre- 
ated is very potent indeed. However seasoned to 
magic a spectator may be, the three-fold challenge 
thus issued to his observation is practically certain to 
attain its end. It will be strange indeed if he fail 
to glance, at least, in the direction indicated. 

In the main, distraction may be said to consist 
in the interpolation of non-essentials ; /. e., matters 
which occupy the attention of the audience, to the 
exclusion of essential details in procedure or con- 
struction. Sometimes the distraction may consist in 
simple incidentals, such as the entrance of an assist- 
ant, at a critical moment. Sometimes, it may con- 
sist in the introduction of suspicious looking actions 
or accessories, which have nothing to do with what 
is going on. But at all times, a magician should 
remember that the least efficient form of misdirec- 
tion is anything which depends upon insisting upon 
the obvious. To call attention to something that all 
may see for themselves may distract the attention of 
a few — or perhaps not. At the best, it is a risky 
procedure, and one to be avoided. To be efficient, 
a distraction must present some element of surprise, 
interest, or novelty, either in itself or in reference to 
what has gone before. 

Misdirection by disguise consists in a skilful 
blending of suspicious and innocent details in such 



MISDIRECTION 



193 



manner that the former are overlooked. In other 
words it depends upon making "fakey" things look 
as though they were free from sophistication. The 
real inwardness of this principle is far too often un- 
recognised by magicians, though an audience will 
never lose sight of it. 

Some magicians, indeed, seem to act upon a prin- 
ciple entirely opposite to the foregoing. Instead of 
doing all they can to disguise the "fakey" nature of 
their accessories and movements they seem to think 
that everything they use, and everything they do, 
should be made to look as ^'fakey" as possible. All 
their appliances are, obviously, "conjuring appara- 
tus" ; all their movements are designed to convey the 
impression of manipulative skill. Every object ex- 
hibited upon their stages is fashioned and decorated 
like nothing else under the sun. It is done "for 
effect." They cannot take up any object without 
proceeding to juggle with it; even the very objects 
they are about to use for magical purposes. If the 
next experiment be with billiard balls they begin- 
by showing how easy it is to make a billiard ball 
seem to be where it is not. If they are about to use 
cards they preface the experiment with feats of dex- 
terity which will impress upon their audience the 
idea that the false handling of a pack is, if anything, 
easier than falling off a log. These jugglings are 
also introduced "for effect." 

But what is the true effect created by such un- 
necessary padding? Simply to make an audience 
feel that, whatever happens, there can be no cause 
for surprise or wonderment. Having seen how 



194 



OUR MAGIC 



readily the performer can handle his accessories for 
the production of extraordinary results, spectators 
are bound to regard the subsequent presentation as 
a natural consequence. Their further interest can 
be only of an academic order because, after witness- 
ing the performer's manipulative fireworks, every- 
thing else he may do seems to follow as a matter of 
course. 

In like manner, the use of obvious "apparatus" 
is bound to detract from the success of a magical 
performance. When appliances are so designed as 
to show that they are mere covers for mechanical 
trickery, a spectator's only possible source of interest 
is in wondering how the machinery is constructed. 
Granting the existence of mechanism, it only needs 
the skill of an inventor to produce the results ob- 
tained. There can be no impression of magical oc- 
currences when, in the appliances a magician uses, 
there is clear evidence of sophistication. In fact, a 
magical effect can be created only when there is no 
apparent existence of trickery, either manipulative 
or otherwise. It is bad business for a magician 
either to display skill in jugglery or to use accessories 
which arouse suspicion as to their internal structure. 
Such things are utterly antagonistic to the principle 
of misdirection by disguise. 

The simplest embodiment, perhaps, of this prin- 
ciple is the familiar "covering" of one action by an- 
other. When, for instance, a performer has to make 
the "pass" with a pack of cards, it is absolutely es- 
sential that the necessary movements of the fingers 
be covered by an apparently natural and unsuspi- 



MISDIRECTION 



cious action. He cannot face his spectators and de- 
liberately make the pass, unscreened, before their 
eyes. At least, he cannot do so and hope to create 
an impression of magical results. He is, therefore, 
bound to do something that will disguise the real 
nature of his actions and prevent the trick from being 
disclosed. 

It is absurd for a magical performer to imagine 
that, because he has acquired a certain deftness of 
manipulation, a facility in juggling with the acces- 
sories he uses, he must necessarily be an expert in 
magic. Such is far from being the fact. In gain- 
ing that kind of skill he has travelled only half the 
journey he must take before reaching his goal. By 
far the easier half, too. The technical perfection 
of his sleights has but little value in itself. To be 
made valuable it requires the aid of ingenious and 
effective disguise. Without the latter it can only 
serve to make the spectators think the performer is 
clever with his hands, and to prevent that idea from 
being lost to sight. It thus emphasises the very 
point which a capable magician wishes, above all, 
to keep in the background. When, however, by 
continued study and practice the performer has 
added to his mechanical skill the refinements of dis- 
guise, clean and artistic, then only is he in a position 
to claim the title of magical expert. And then, also, 
he will find that claim disputed by none capable of 
forming just conclusions on such points. 

In the same way, it is not enough that a magical 
performer shall provide himself with trick-appli- 
ances which will bear more or less examination with- 



OUR MAGIC 



out the precise nature of their tricks becoming evi- 
dent. It is not enough to have the sophistications 
hidden by blobs, thicknesses or deformities of ''dec- 
oration," so that spectators cannot see what is under- 
neath. On the contrary, magical appliances should 
be so constructed that their inner devices are not 
concealed by a mere covering of some sort, but are 
disguised by blending with the general structure. 
In fact, so far from suggesting the possibility of there 
being anything discoverable, a magician's accessories 
should rather look like objects of normal construc- 
tion, which nobody would associate with trickery. 

This is particularly the case where an appliance 
is intended to resemble some article in general use, 
or the shape of which is familiar. For example, 
can there be anything more palpably absurd or more 
utterly unconvincing than the "feather-flowers" one 
so often sees produced by magical performers? 
They are like nothing else under the heavens, and 
are as innocent of any suggestion of magic as a 
child's rattle. There is no misdirection associated 
with the use of things like these. There can be none. 
They are obviously made of feathers; they obviously 
close up into very small compass; and no amount of 
ingenuity could ever make an audience even regard 
their production as clever. As to throwing an audi- 
ence of! the scent in reference to the modus operandi 
of such a production, that is clearly impossible. 

On the other hand, as an example of efficient dis- 
guise, let us take De Kolta's little dodge of conceal- 
ing a small silk handkerchief within a half-opened 
match-box. No device could be simpler than this; 



MISDIRECTION 



197 



nor, in its way, could anything be more perfect. A 
common match-box stands half-opened upon the 
table. With his sleeves rolled up, and his hands 
undoubtedly empty, the performer takes up the 
matches, strikes one, lights a candle, blows out the 
match and closes the box, replacing it on the table. 
It must be admitted that the act of conveying a 
handkerchief into one's previously empty hand could 
scarcely be disguised in a more unsuspicious manner. 
Unfortunately, the trick of thus concealing a small 
object soon became known and, consequently, has 
now but little value. That, however, does not de- 
tract from the merit of the original device. 

In connexion with disguise, which is in reality 
nothing more than a special form of concealment, 
the question of display becomes of importance, by 
contrast. While the magician must use all his art 
to disguise and cover up what he does not require 
to be seen, he is equally bound to make sure that 
every movement and every detail that ought to be 
seen shall be seen. If, after having efifectually se- 
cured himself in the matter of disguise, he so bungles 
his procedure and stage arrangements as to prevent 
people from seeing, half the time, what is going on, 
his good work will be wasted. 

Simulation is a form of pretence. In disguise, we 
have the principle of making one thing look like 
another and entirely different thing. In the mis- 
direction of sense by means of simulation, we have 
the principle of giving apparent existence to things 
that do not exist, or presence to things that are ab- 
sent. 



OUR MAGIC 



The billiard ball feat, already quoted in this 
chapter, serves to illustrate the three basic principles 
of misdirection in magic. In the gaze of the per- 
former and the pointing of the fingers of his right 
hand we have the principle of distraction. In the 
extended position of his right hand, intended to con- 
vey the idea that the ball is not held therein, we have 
the principle of disguise. Lastly, in the partially 
closed fingers of the left hand, we have the prin- 
ciple of simulation. There appears to be something 
where, in reality, there is nothing. 

In mechanical devices also, simulation often plays 
a most important part. Usually it is employed for 
the purpose of retaining the form of something 
or somebody already removed. Examples of this 
method, from the ''Vanishing Lady" to the coin 
dropped into a tumbler of water will occur readily 
to all who know anything of magic. The converse 
method — that of simulating the form of a person or 
object not yet present — though not so much used as 
the former, is sufficiently familiar to need no special 
illustration. 

Upon this form of misdirection little need be said. 
Its employment, both in manipulation and construc- 
tion, must be governed by the circumstances of each 
particular case. The one important point in every 
instance alike, is to make sure that the working shall 
be "clean." On one hand, the simulation, in itself, 
must be efficient; and, on the other hand, all evidence 
that the person or thing simulated has either gone 
or not yet arrived must be entirely lacking. It is 
of no use to cover a bird-cage with a handkerchief 



MISDIRECTION 



199 



containing a '^fake" and expect the audience to be- 
lieve that the cage is still there, if one efifects the 
removal clumsily, or allows the fabric to blow under, 
as it could not were the cage not removed. If the 
simulation be not good, spectators cannot be expected 
to believe that the object simulated is where it is 
supposed to be. Nor can they be expected to be- 
lieve, no matter how perfect the simulation, that an 
object still remains or has previously been in a cer- 
tain place, if the getting away or getting in of that 
object is more or less in evidence. Cleanness, both 
in actual simulation and the procedure connected 
with it, is the one great essential. 

Misdirection, in either of its branches, is not con- 
fined to one particular sense. Sight, of course, is the 
sense most frequently concerned; but other senses 
also come in for their share of attention. Hearing, 
for instance, is misdirected when, in "The Aerial 
Treasury," coins appear to fall into the hat from the 
performer's right hand, when they really fall from 
his left. Touch is misdirected when a spectator 
thinks he drops a coin into a tumbler of water, when 
he drops in reality a disc of glass. Taste is mis- 
directed when spectators believe themselves to be 
drinking innumerable choice beverages when, in 
reality, their drinks are merely compounds of a few 
special ingredients contained in a "Magic Kettle." 
In short, every sense is open to misdirection, and 
thus may be made to serve the ends of a skilful magi- 
cian. 



CHAPTER IV 



STYLES OF MAGIC 

In magic, as in every other calling, the modern tend- 
ency is towards specialisation. And, as may readily 
be imagined, each specialist is apt to regard his own 
particular branch as the most important; and to adopt 
a high-sounding title by virtue of his hypothetical 
supremacy. In any profession this latter tendency 
is objectionable, for obvious reasons. But, in magic, 
it has also the disadvantage of being utterly ridicu- 
lous. The technics of magic, as we have shown, are 
readily capable of classification according to the 
processes employed; but are quite incapable of re- 
duction to any sort of system according to respective 
styles of practice. Since almost every magical ex- 
periment includes processes of various types and or- 
ders, it is impossible to classify performers according 
to their respective lines of work. 

Yet, for instance, there are performers who pride 
themselves upon being exponents of pure sleight of 
hand, and nothing else. There are others who boast 
of being stage illusionists, pure and simple. And so 
on, ad nauseam. What, after all, do such claims 
amount to? — Nothing whatever! There is no such 
thing as a pure sleight of hand performer. Or, if 
there be, may the gods have pity on him. There is 
no such thing as a stage illusionist, pure and simple. 

200 



STYLES OF MAGIC 201 



Stage illusions which can be presented without the 
aid of some considerable amount of manipulative 
ability represent a class of inventions yet to be pro- 
duced. And so on and so forth, throughout the 
whole range of magic. It is necessary that every 
performer shall specialise, more or less, but there is 
no such thing as a true specialist in any given style 
of magic. 

By way of example, consider what can be done 
with pure sleight of hand. It is true, there are some 
classical experiments, such as "The Cups and Balls" 
and "The Aerial Treasury," in which sleight of hand 
alone is employed. But, when one has exhausted the 
very limited resources represented by such experi- 
ments, "pure sleight of hand" ceases to exist. In or- 
der to show his audiences anything worth showing 
the performer has to use contraptions which, at once, 
place his feats outside the limitations of pure sleight 
of hand. He becomes an "apparatus conjurer," a 
"stage illusionist" — or what you will. Whatever he 
may think to the contrary, he is no more a pure 
sleight of hand man than is the boy who has bought 
a half-guinea box of tricks. 

Similarly, the performer who prides himself upon 
being an "illusionist," and professes to look down 
upon the man who "does sleight of hand" is entirely 
at fault. His performances involve as much sleight 
of hand as do those of the man he pretends to 
despise. He is no more an "illusionist" than is his 
confrere, who scorns the title. He is as much a 
sleight of hand man as the other, who regards slight 
of hand as the acme of magic. Such considerations, 



202 



OUR MAGIC 



if only on account of their extreme novelty, may ap- 
pear somewhat difficult to entertain. Nevertheless, 
in view of their undoubted truth, they have to be 
faced, and dealt with in the light of commonsense. 

The final conclusion which facts compel one to 
adopt is that, on the whole, the most important order 
of magic is the physical. It is only by keeping 
abreast with the progress of physical science that 
magic can retain its hold upon the public. In an- 
cient times magic and progress were one. To-day, 
the progress of physical science constantly tends to 
outrival the marvels of magic. Such being the case, 
it is hopeless for a magician to rely upon mere jug- 
glery to maintain his art in the position it should hold 
in public regard. The day has gone by, and rightly 
so, when "hanky panky" and "hocus pocus" were 
powerful fetiches. To obtain and retain worthy 
estimation, the modern magician needs to be some- 
thing of a scientist, and a thorough artist into the 
bargain. He should bring to bear upon his work 
every resource of modern progress that can be made 
available. 

Antagonism between various styles of magic is an 
idea that ought to be inconceivable. In every es- 
sential point of art and theory all styles of magic 
are as one. When we come to the bedrock of the 
matter, we find there are only two definite styles in 
existence; and even these have no precise line of 
demarcation between them. They are, respectively. 
Parlour Magic and Stage Illusion. The considera- 
tion w^hich mainly determines the category to which 
an experiment belongs is a particular suitability for 



STYLES OF MAGIC 



presentation before either large or small audiences, as 
the case may be. But, as we all know, many experi- 
ments are suitable for audiences of any magnitude; 
and will prove effective upon a big stage, in no less 
degree than among a few guests at a private house. 
So even this broad basis of classifying magic accord- 
ing to style of work, gives way if too hardly pressed. 

A performer, of course, may specialise in experi- 
ments with cards, coins, balls, mirrors, cabinets, 
glassware, threads, electricity, second-sight, acous- 
tics, peg-tops, tiddlywinks, or anything else that may 
suit him. But in specialisations of that kind there 
is nothing so vitally characteristic that either of them 
can be said to represent a special branch of magic. 
In theory and in art alike, such differentiations are 
too slender to sustain any real class distinction. 
Still less are they capable of conferring upon their 
exponents any special claim to eminence in the art 
or practice of magic. Minor details concerning the 
methods or accessories a performer employs, and to 
which his procedure is confined, are too insignificant 
to create a definite style, to be set apart from the 
general practice and constitution of magic as a whole. 

The question of discriminating between the two 
legitimate styles of magic is one of great importance 
to every performer, without exception. Obviously, 
the choice of experiments must be governed by the 
conditions in which they have to be performed. 
Experiments that prove effective in a drawing-room 
are, usually, quite the reverse when presented upon 
the stage. On the other hand, those which create 
the greatest impression when exhibited upon the 



204 



OUR MAGIC 



stage are, usually, either unsuitable for a drawing- 
room or impossible to present in such cramped 
quarters. Size, of course, is the chief factor, though 
by no means the only one, in deciding whether an 
experiment be better suited to stage work or private 
performances. If the appliances and accessories 
requisite for an experiment be very large they cannot 
readily be displayed in an ordinary room. If very 
small, they cannot be seen properly upon a large 
stage. In either case there can be no good effect 
produced owing to inappropriate conditions. Thus, 
the drawing-room magician, as a rule, confines his 
work to such objects as may be held in the hand, 
while the stage illusionist relies upon effects in which 
large objects are employed. 

This question of size, however, as we have said, is 
not the sole consideration involved in the selection 
of experiments adapted to the exigencies of a par- 
ticular case. The "Aerial Treasury," for instance, 
is an excellent item for inclusion in a private per- 
formance. Nevertheless, we must not therefore con- 
clude that it will not be effective on the stage. As 
a matter of fact, we all know that, when properly 
performed, it is most effective as a stage-illusion. 
Conversely, there are many experiments, notably 
those with playing-cards, which are capable of being 
made very effective upon the stage, and yet are not 
on that account unsuited for private performance. 
On the contrary, experiments with playing-cards, in 
particular, can be shown in private with enhanced 
effect as compared with that produced on the stage. 
This is not because, as a rule, the audience in private 



STYLES OF MAGIC 205 



can see the cards better than they can be seen by an 
audience in public. The latter can generally see 
such distinct objects quite well enough. No, it is 
because the average man believes there is some spe- 
cial virtue in being close to a magical performer 
while he is at work. One hears it said, again and 
again, 'T stood within a yard of him all the time, 
and yet — " The rest can be filled in by the reader, 
from memory. 

Of course, anyone who knows anything of magic 
is aware that more often than not, the spectator who 
stands at a performer's elbow, or who faces him at 
the opposite side of a table, is far less likely to de- 
tect trickery than is the man who views him from 
the stalls of a theatre. It stands to reason that the 
man who has a performer in view from head to foot, 
is far more dangerous than one who is too close for 
making a comprehensive inspection. Matters of this 
kind, however, are only of importance in so far as 
they serve to impress upon magicians the fact that, 
when giving public performances, care in the ex- 
ercise of misdirection is of far greater importance 
than is the case with performances given in private. 
Whatever belief to the contrary may be held by a 
large majority of persons, a magician ought never to 
forget that, on the stage, he is at a disadvantage in 
comparison with his favourable situation in private 
performances, as a rule; that is to say, of course, so 
long as he uses rational judgment in the choice of 
experiments for drawing-room work. Naturally, if 
he be so ill-advised as to attempt feats which can be 
properly accomplished only in stage conditions, he 



2o6 



OUR MAGIC 



is bound to be handicapped in a dwelling house of 
average size. Our comparison has reference only 
to such experiments as are effective either in public 
or in private. . 

Briefly, then, in deciding the style of business 
suitable for a certain occasion, every magician must 
be a law unto himself. There is no other law to 
guide him, beyond the very indefinite and often de- 
batable rule that, for private work, small effects are 
usually preferable; and for stage work, large effects 
which involve the use of objects which can be seen 
easily at a distance. So much also depends upon the 
performer himself, upon his ability to turn certain 
situations to his own advantage, and upon the limi- 
tations which particular conditions impose upon his 
skill, that nobody but himself can decide this ques- 
tion. There are two styles of magic — large work 
and small. But there are also many experiments of 
an intermediate character; so many, in fact, that we 
have a regular gradation from the smallest effects 
to the largest. Therefore, in point of magnitude, it 
is quite impossible to draw a precise boundary line 
between parlour magic and stage illusion. The dis- 
tinction is not exact, but unquestionably is only there- 
abouts. 

Apart from prejudice, one is bound to conclude 
that a performer's claim to exclusive specialisation 
in any particular branch of magic must, to say the 
least, be very difficult to sustain. The sleight of 
hand man has to employ mechanical and other de- 
vices, which bring his work within the scope of 
physical magic. The stage performer or illusionist 



STYLES OF MAGIC 



is equally dependent upon manual dexterity; for the 
simple reason that a mechanical experiment usually 
requires "working" no less than one that is purely 
manipulative. One may have all the requisite ap- 
paratus but, without the skill wanted for its proper 
handling, that apparatus can only be so much useless 
lumber. As to the specialist in mental magic, his 
work includes so many devices belonging to the ma- 
nipulative and physical branches that his position in 
the art is, perhaps, the most difficult to define with 
accuracy. 

So much for the problematic classification of 
magicians according to style of work. We may now 
pass on to the surer ground of distinction based on 
the characteristic features of magical processes. In 
our next chapter we shall deal with the principles 
and methods which constitute the various types of 
process comprised in magic. The types themselves, 
being merely convenient groupings of more or less 
similar principles, need no special comment. Their 
respective characteristics are sufficiently illustrated 
by the general nature of their components. 



CHAPTER V 



MANIPULATIVE PRINCIPLES 

Beginning with manipulative magic, it will be seen 
on referring to page 182 that this branch of the sub- 
ject includes four types, the first upon the list being 
Pre-arrangement. This, again, has three subdivi- 
sions with certain characteristics in common. They 
all relate to matters which the performer has to set 
in order before his experiment begins. We will 
consider them in the order given. 

The principle of Collusion is one in which little 
merit exists. An effect depending upon this prin- 
ciple is simply a put-up job, by means of which the 
audience is actually deceived, instead of being dealt 
with legitimately. Nothing can be simpler than to 
employ an agent, who pretends to be an ordinary 
spectator and plays into the performer's hands in 
some preconcerted manner. This can hardly be re- 
garded as a genuinely magical principle, though 
there may arise occasions when its use may be justi- 
fied. As a rule, it is to be avoided as a form of pro- 
cedure unworthy of a magician whose repute is of 
any value to him. 

Disposition, the principle next on the list, repre- 
sents the pre-arrangement of accessories in a certain 
place or order, as required for the experiments about 
to be performed. Examples of this principle are 

208 



MANIPULATIVE PRINCIPLES 209 



provided by the stocking of cards, the loading of 
pockets or other receptacles, and the manifold de- 
tails incidental to the putting of things where they 
will be wanted during a performance. 

Preparation relates to processes employed in tam- 
pering, beforehand, in some unobtrusive manner, 
with accessories to be used later on. All devices 
by means of which articles are ''doctored up" for 
some special purpose that has to be served later on, 
come under this heading. Marked cards give a 
familiar illustration of the principle. A more fa- 
miliar, though less direct illustration, is found in the 
constant insistence by magicians upon the fact that 
their accessories are without preparation. We may 
remark, in passing, that this custom is more honoured 
in the breach than in the observance. A direct 
repudiation, such as this, only serves to arouse sus- 
picion about things in general, even though the ar- 
ticle in question be proved entirely innocent. Better 
far, in most cases, is the indirect proof of honesty 
which allays suspicion instead of tending to create 
it. In certain instances, when an experiment de- 
pends for its success upon a strict examination of 
accessories, the disclaimer is bound to be made, in 
some form or other. But, even then, it is as well 
to avoid direct reference to preparation or any other 
form of trickery. To assure the audience that a 
receptacle has no trap or false bottom, is about the 
surest way to make people think there may be some- 
thing of the kind. Whereas, had nothing been said 
about the matter, they might never have given it a 
thought. If the thing to be examined can be given 



2IO 



OUR MAGIC 



into the hands of a spectator and, upon some pre- 
text, he is caused to handle and inspect it in a man- 
ner that indirectly suggests the absence of trickery, 
that is bound to be more satisfactory than the 
common plan of bluntly inviting the man to satisfy 
himself that there is no trick in the thing. When, 
for instance, it is necessary to show that a pack of 
cards has to be proved free from preparation, rather 
than to ask a spectator to see that such is the case the 
performer v^ould be w^iser were he to request that 
some stranger oblige him by counting and shuffling 
the cards. Left at that, every useful purpose is 
served and no harm done. 

Under the general heading of Concealment, the 
first principle on the list is that of Covering. It in- 
cludes all processes in which one action or object 
serves to screen another from view. Thus, any de- 
vice for passing one object behind another, or per- 
forming an action, that is not required to be seen, 
under the cover of a dififerent movement altogether, 
is included in this type. Thus, dropping the hands 
while making the pass or holding two cards together 
so as to appear but one only, may be quoted in illus- 
tration of this principle. 

Disposal, the principle next in order, refers to 
processes by means of which objects are finally put 
out of sight during the course of an experiment. 
Dropping an article into the profonde or other con- 
venient receptacle, is a process of this type. Other 
examples will readily occur to the reader's memory. 

Retaining, the last of this particular group, is the 
principle of withholding from transit any object 



MANIPULATIVE PRINCIPLES 211 



which should, normally, pass from one position to 
another. Palming a coin in the right hand while 
appearing to place it in the left, is a process belong- 
ing to this category. 

In the general type of processes grouped under the 
heading of Interposition, the first principle set down 
is that of Loading. Interposition, of course, is the 
direct antithesis of Concealment. It has to do with 
the bringing into play something not employed 
previously; whereas Concealment indicates the put- 
ting away of things already at hand. The principle 
of Loading is eminently characteristic of its group. 
It is the most direct and most obvious method of 
bringing new material into a magical experiment. 
To quote examples in this instance would be super- 
fluous. Even those who have but a nodding ac- 
quaintance with the principles of magic, must well 
understand the nature of this particular item in our 
catalogue. To prevent misunderstanding, however, 
we may point out that the process of loading consists 
in transferring a load from its hiding-place to the 
receptacle from which the contents of the load are 
to be produced. It does not consist in placing a 
load in a place where it can be got at when the time 
comes for loading it into the receptacle intended for 
it. A process of the latter type comes under the 
heading of Disposition. It is just as well to make 
this point clear, as there appears to be a certain 
amount of confusion about it. A performer may, 
sometimes, find it convenient to say that a chair, for 
instance, has been loaded, when he means that a load 
has been set behind a chair, ready for loading. In 



212 



OUR MAGIC 



actual fact, his statement is quite correct; but, in a 
magical sense, it is not so. Still, so long as the point 
is clearly understood, and the disposition of a load 
is not taken to be the same thing as the act of load- 
ing, there is no importance in mere choice of words. 
The only thing that matters is that the meaning of 
magical terms shall not be subject to confusion, on 
account of the mixed medley in which their casual 
use is liable to involve them. 

We now come to the principle of Duplication. 
This includes all processes in which two objects are 
used where there is supposed to be only one. The 
familiar experiment in which a coin is apparently 
made to pass from one hand to another, usually 
through the performer's knees, is a good example of 
the uses to which this principle is applied. 

The principle of Substitution is nearly allied to 
the foregoing. The actual difference between them 
is that, while Duplication interposes an additional 
object, to be used in conjunction with one exactly 
resembling it. Substitution brings in a new object 
to replace one that has been destroyed or otherwise 
put out of use. The experiment in which a card 
is torn up and apparently restored, with the excep- 
tion of one piece held by a member of the audience, 
is based upon this principle. 

The last on the list of types comprised in manip- 
ulative magic is False Handling. Though not so 
precisely defined as the other types in this order, it is 
still sufficiently definite to warrant its standing as a 
special subdivision. As a matter of fact, several of 
the principles which belong to other groups may be 



MANIPULATIVE PRINCIPLES 213 



said to represent modes of false handling. The 
three principles — Forcing, Securing, and Transpo- 
sition — are, however, so distinctly different in their 
mode of application that they obviously form a sepa- 
rate group. For the characteristic feature common 
to them all and denoting the type they represent, we 
can find no better title than false handling. 

Forcing is the principle of controlling the selec- 
tion of a particular object from among a number, 
while appearing to allow an entirely free choice to 
be made. It is, in fact, a covert form of "Hobson's 
choice" — take which you like, but you will only get 
the one I intend you to have. Its most familiar ap- 
plication is the forcing of a certain card from a pack, 
spread out fanwise. Another method is that em- 
ployed in what is called the Four Ace Trick, wherein 
a spectator is allowed to make a selection, and the 
performer interprets the meaning of the choice to 
be either that the chosen cards shall be used or set 
aside, according to whether or not they are those he 
wants to use. 

Securing is the principle involved in all manipu- 
lative processes for insuring the availability of a 
certain article in the event of its being required for 
use. It is closely allied to the principle of Retain- 
ing, already discussed. The latter, however, is based 
upon the concealment of an object; whereas the se- 
curing of an object does not necessarily imply that 
it is concealed. Further, a retained object is merely 
held back when being apparently passed on, while 
a secured object is one that is covertly held fast. 
Thus, when, in the act of passing a pack to be 



214 



OUR MAGIC 



shuffled, certain stocked cards are palmed off, those 
cards are said to be retained. In a false shuffle, on 
the other hand, when certain stocked cards are pre- 
vented from being mixed with the others, the cards 
thus held in place are said to be secured. Again, 
in the trick known as ^'dealing seconds," the top 
card is secured, and, by a process of substitution, 
the second card is dealt instead. The principle, of 
course, is not confined to tricks in the handling of 
cards. It is the basis of every manipulation in 
which the position of an object, or the arrangement 
of objects in a particular order, is prevented from 
changing. 

The last principle in this group is that of Trans- 
position. It implies the secret reversal of positions 
respectively occupied by two or more objects. The 
well known card trick called the "Pass" illustrates 
this principle; being a device for transposing the 
relative positions of the two half-packs. Any other 
manipulative process by means of which two objects 
are secretly made to change places will, necessarily, 
represent an embodiment of this principle. 

This brings us to the end of those principles and 
methods which are applicable to sleight of hand. 
They represent all that can be done in magic, by 
means of a performer's hands, apart from other 
physical aid. The limited number of such princi- 
ples, undoubtedly, serves to indicate the fact that, 
in pure sleight of hand, a magician has but slender 
resources upon which to draw for his effects. Even 
so, the principles enumerated arc not all purely ma- 
nipulative in their applicatron. A comparison of 



MANIPULATIVE PRINCIPLES 215 



this list with that of principles available in phys- 
ical magic will emphasise the limitations of unaided 
dexterity, in a manner that cannot fail to strike even 
a casual observer. 



CHAPTER VI 



PRINCIPLES OF MENTAL MAGIC 

Turning to the order of mental magic, under the 
general heading of Thought Transference, the first 
principle on the list is that of Code Work. So 
called "second sight" is an example of the manner 
in which this principle is applied to a code of words. 
There are, however, in addition to verbal devices, 
many other tricks in which the code principle is em- 
ployed. Audible and visible signals of many kinds 
have been arranged to form a variety of codes, for 
the general purpose of conveying information 
secretly. Signals by touch are equally available, 
when circumstances permit. 

The most familiar code, of course, is the Morse, 
in which signals consisting of long and short sounds, 
movements or other impulses, are combined in 
various ways to form signs representing letters and 
numerals. By such means messages can be spelt 
out more or less slowly. The usual method is to em- 
ploy, in conjunction with the signal code, a tabular 
code similar to those used in cable telegraphy, in 
which the entries represented by brief signs, contain 
a comparatively large amount of information. This 
device is too well known to need special description. 
The most efficient application of the principle 
known as code-work is found in the performance of 

216 



PRINCIPLES OF MENTAL MAGIC 217 



those who combine various devices or, at any rate, do 
not confine themselves to one particular device or 
form of code. Such performances are, necessarily, 
more effective and more inscrutable than can pos- 
sibly be the case with but one single device. The 
so-called ''silent" thought transference is, very often, 
silent only in name, the performers talking almost 
as much as is the case in the ordinary ^'second-sight" 
business. But, where the feats are actually per- 
formed in silence, visible signals are generally used. 
In fact, some exponents of the truly silent device, 
when presenting their experiments, might almost 
be mistaken for playmates in the game of "Here we 
go round the mulberry bush," so pronounced are the 
signals they adopt. In other instances, the silence is 
only apparent, not real. The signals are conveyed 
by audible means, but not such as are evident to the 
audience. 

Secret Speech is the principle of conveying mes- 
sages from one person to another by means of some 
concealed device, such as a speaking tube. When 
this principle is employed, it usually necessitates the 
intervention of a third person, by whom the actual 
speaking is done, from some position more or less re- 
mote. In this case, obviously, additional means are 
requisite for conveying to the intermediary the infor- 
mation to be transmitted. 

Secret Conveyance of Documents is a principle 
which, like the preceding, can only be used with the 
assistance of some physical device. It consists in 
the actual passing on of written or printed matter, the 
recipient having facilities for reading it in private. 



2l8 



OUR MAGIC 



^^Billet reading'' as usually performed by tw^o per- 
sons illustrates the application of this principle to a 
device for learning the contents of sealed envelopes. 

Duplicate Reading is the principle of using tw^o 
similar books, newspapers, or what not; one being 
in the hands of the audience and the other made 
available, secretly, to a performer. A certain page 
or paragraph having been selected, particulars are 
signalled to the performer, who turns to the place 
notified and proceeds to read out the chosen words, 
apparently from the publication held by a spectator 
seated at a distance. 

Under the general heading of Memorisation there 
are only two principles w^hich have any claim to 
special characteristics. These are Artificial Memory 
and Counting Down. The former, of course, con- 
sists in the adaptation to magical purposes, of the 
methods of mnemonics or other systems devised for 
assisting or training one's memory. The principle 
is useful, not only in combination with devices of other 
kinds, but even as the basis for experiments in which 
memory alone is involved. The memorisation, for 
instance, of a number of articles in prescribed order, 
the list being read over once only to the performer, 
has proved to be a most interesting item in magical 
entertainments. There are some persons whose 
memories are sufficiently retentive to enable them to 
perform this feat without the aid of artificial 
memory. They are, however, few in number. 

Counting Down is the principle of committing 
to memory the order in which certain objects in a 
series are arranged. The purpose is to enable the 



PRINCIPLES OF MENTAL MAGIC 219 



performer to know what will follow in succession, 
should circumstances render that knowledge useful 
to him. This principle is largely adopted by 
gambling sharps in connexion with card games. 
When it is the sharp's turn to deal, he memorises the 
names and order of as many cards as he is able, 
while in the act of collecting the pack together. 
Making a false shuffle he leaves the memorised cards 
undisturbed in the middle of the pack. When the 
pack is cut the known sequence is brought, in all 
probability, near to the top. Thus, when the cards 
are dealt, a glance at his own hand will show him a 
great deal about those of his partner and opponents 
alike. The method may readily be adapted to mag- 
ical purposes, and should be more generally recog- 
nised as a valuable aid in the invention of new^ ex- 
periments with cards. 

The principles relating to the type of magic called 
Divination, are three in number, viz. — Clairvoyance, 
Discovery, and Prediction. They are, however, 
sub-types, rather than actual principles — forms of 
divination rather than fundamental methods em- 
bodied in the devices used for divination. Never- 
theless, it is difficult to prescribe any form of classi- 
fication more suitable in the present instance. As 
they stand, the terms speak for themselves. In 
practice, the devices assignable to each particular 
group are, primarily, related to principles of other 
types and, therefore, need no special comment in this 
place. 



CHAPTER VII 



MECHANICAL PRINCIPLES 

We now come to magic of the physical order and 
processes of the mechanical type. The principle 
first on the list is that of Outer Casing. This con- 
sists in the covering of an object with a superficial 
casing, removable at will. The casing may form a 
double or extra thickness, in exact replica of the real 
object, or may have a shape entirely different from 
the object it encloses. The first of these forms is 
illustrated by the ^'half-shell" used in billiard ball 
manipulation, and by the metal cover fitting closely 
over and painted to resemble a large wooden die. 
The second form of casing is represented by the 
'Tasse Passe" experiment, in which a bottle covers 
the glass with which it apparently changes place. 
Numerous examples of both forms will readily oc- 
cur to the reader. 

The next mechanical principle is that of Con- 
cealed Access. This may not be, perhaps, the best 
title available for the principle to which it relates, 
but we can think of none better. It implies a secret 
device by means of which any person or thing is 
enabled to pass through something that appears im- 
penetrable, or to get at something that seems isolated 
beyond all human possibility of approach. Traps, 

220 



MECHANICAL PRINCIPLES 221 



sliding panels, removable parts et hoc genus omne, 
are devices in v^^hich this principle is involved. 

Secret Cavity or Receptacle is the principle upon 
which all devices for the concealment of an object 
within an apparently solid structure may be said to 
depend. False bottoms, secret drawers, bellows 
tables, hollow stems, double lids, and so on, are ex- 
amples of tricks upon this principle. 

Diverse Formation is a principle of very common 
use in magic. It relates to appliances which, 
though apparently similar in every respect, are 
either wholly or in part unlike in structure. It is 
a principle common to many kinds of "prepared" 
apparatus. Thus, bevelled coins for example, are 
of diverse formation. In external appearance they 
resemble genuine coins, with the ordinary square 
edges. The bevelling is so slight that it can be de- 
tected only by careful examination. It is, however, 
sufficient to ensure that, when spun, the coin shall 
fall with its larger diameter upwards. Cards with 
dissimilar halves, with convex or concave sides, with 
ends of different widths, and so forth, are devices 
upon this principle. 

A good example of Diverse Formation is to be 
found in the "Chinese Rings." Here we have a 
number of rings, apparently identical in structure 
and condition. But, in reality, the case is far other 
wise. Some few of the rings, it is true, are what 
they appear to be — genuinely solid and single. Of 
the others, one has a gap in it, and the rest are linked 
up in pairs and threes. It depends upon the adroit- 
ness of the performer to convey to his audience the 



222 



OUR MAGIC 



impression that each and every ring is given out, 
singly, for examination, apparently proving the 
whole number to be identical in every respect. Any 
contrivance in. which an unobtrusive alteration in 
shape is the essential feature will come under this 
heading. 

Closely allied to the foregoing is the principle of 
Double Facing. It is sufficiently familiar, in con- 
nexion with playing cards, to render comment super- 
fluous. 

Concealed Mechanism or Motive Power, also, is 
a principle that is well known, even to those w^ho 
know little else of magic. There are innumerable 
devices and places for the concealment of mechan- 
ical trickeries. So vast, indeed, is the range covered 
by this section that without unduly occupying space, 
it is impossible to give even a list of the chief forms 
of apparatus in which the principle is commonly em- 
bodied. Broadly, we may say that most appliances 
in which a trick is concealed are included in this 
group. Thus, the trick by means of w^hich the per- 
former is enabled to escape from a locked and corded 
box is an example of such mechanism; since con- 
cealed access alone cannot meet the case. A mere 
trap or sliding panel is out of the question — assum- 
ing, of course, the relative dimensions of box and per- 
former entail a close fit, and that the rope is suffi- 
cient and properly applied. There must, neces- 
sarily, be some form of concealed mechanism com- 
prised in the trick, whereby the performer releases 
himself and restores the box to its former state. In 
this, as in other instances where the trick by which a 



MECHANICAL PRINCIPLES 223 



magical result is produced consists in mechanism, 
the existence or nature of which is unknown to the 
audience, that trick comes under the present head- 
ing. Incidentally, we may remind the reader that 
a ''box trick" is the trick embodied in a box — not the 
feat of escaping from a box. 

Concealed Connexion is another mechanical prin- 
ciple, of the utmost familiarity, to magicians and 
public alike. It is one of the three principles 
usually quoted, by that section of the public whose 
only delight at a magical performance is to explain 
(?) how everything is "done." The explanation 
given by such people, when fully engaged in show- 
ing their cleverness at a magician's expense, as a 
rule, consists in either "wires," "machinery," or 
"mirrors." It may be that the efifect could not pos- 
sibly be produced by either wires, m.achinery, or 
mirrors, but that is of no consequence. The fact 
that, if the effect w^ere actually produced by such 
means, it would be an absolute miracle, does not 
matter in the least. "Make it wires!" says the busy- 
body, and "wires" it is, unless it may happen to be 
machinery or mirrors. This sort of chatter, if loud 
enough, will always enhance the enjoyment of sur- 
rounding spectators. In some cases of the kind, we 
have seen printed on the faces of those around a 
chatterer, enjoyment so unspeakably sincere that it 
would be unspeakable — in public, at any rate. But, 
if they only had that nuisance alone — my word! 
However, these common occurrences serve to show 
that the principle of concealed connexion is one of the 
most familiar in the whole range of magic. From 



224 



OUR MAGIC 



the slender thread that lifts the ''Rising Cards" to the 
heavy "Pull" that snatches away the cloth thrown 
over a Vanishing Lady, the purposes to which this 
principle is applied in the service of magic are in- 
finite in number and variety. 

Last on the list of mechanical principles we have 
Invisible Suspension. This, of course, is closely al- 
lied to concealed connexion. The precise difference 
between the two is this: In the case of connexion, 
invisibility is by no means essential and some form of 
apparent action at a distance is implied. On the 
other hand, invisibility is the first essential in the 
present case, and no action, other than that of sus- 
taining a certain weight in mid-air, is implied. 
Partial suspensions, such as that associated with 
"The Fakir of Oolu," more correctly belong to the 
group of concealed mechanism ; since the upright rod 
provides obvious possibilities for the intervention of 
mechanical support. A truly invisible suspension 
is one in which the weight supported is apparently 
isolated from all possible contact with material ob- 
jects by which mechanical connexion may be con- 
cealed. For this reason, the method of suspension 
in which the support is derived from a rod passing 
through the stage, behind the performer who "as- 
sists," is a concealed mechanical device, rather than 
an invisible suspension. The application of this 
present principle is not entirely confined to the pro- 
fessed purpose of mysteriously causing a person or 
object to float in space. It is also of great utility in 
giving to heavy objects the appearance of lightness. 
This method was first introduced in connexion with 



MECHANICAL PRINCIPLES 225 



the illusion called "Cleopatra's Needle," in which a 
light framework, containing one or even two per- 
formers, could be handled with ease; the weight con- 
tained within being invisibly counterbalanced. De 
Kolta afterwards adopted the method in his well- 
known illusion '^Le Cocon." 



CHAPTER VIII 



OPTICAL PRINCIPLES 

Among principles of the optical type, the first is 
Mirror Masking. It is well known in connexion 
with devices such as ^'The Sphinx," where mirrors 
radiating from the centre of a curved or polygonal 
recess, and having their edges hidden by the legs of 
a table, are used to conceal a person behind them. 

The Reflected Image principle is the converse of 
the preceding. Instead of masking an object, the 
mirrors serve to make an object appear where, in 
reality, none exists. The illusion introduced by 
Professor Pepper at the London Polytechnic, and 
known to magicians as "The Walker Illusion," illus- 
trates this principle excellently. 

With Professor Pepper and the Polytechnic is 
also associated the introduction of Transparent Re- 
flectors. The mention of ''Pepper's Ghost" is a suf- 
ficient description of the method and its mode of 
application to magical purposes. 

Lantern Projection has been employed in magic, 
almost from the date of its invention by Kircher. 
It is, however, seldom employed by modern magi- 
cians. Except in an unusually clear atmosphere, 
the beam of light from the lantern is so distinctly 
visible, and the need for complete or semi-darkness 

226 



OPTICAL PRINCIPLES 



so objectionable, that the possibilities of this princi- 
ple are limited within very narrow bounds. 

Background Work is the principle of masking by 
means of a screen, having the same colour as a plain 
background, against which it is seen. It has long 
been used in small effects, such as the appearance of 
objects within frames with black centres ; the objects 
produced being temporarily concealed by pieces of 
black material, snatched away at the proper moment. 
Its adaptation to stage illusions proper was made by 
De Kolta, at the Egyptian Hall, London, in 1886. 
The title of ^^Black Magic," adopted by him for the 
act in which this invention was employed, has since 
become a technical term, denoting the use of the 
background principle with black material. In this 
sense, however, the term is liable to create false im- 
pressions. Firstly, it suggests that the use of black 
against black, in any way whatever, is a device which 
De Kolta claimed to have invented. Secondly, it 
suggests that De Kolta's invention was limited to 
black alone. Such ideas are by no means in accord- 
ance with the facts. Reference to De Kolta's patent 
will show that his invention relates to the oblitera- 
tion of visible contour by the destruction of shadow, 
and that any colour whatever may be used in con- 
nexion with it. In practice, the distinction between 
De Kolta's invention and previous applications of 
this principle may be said to consist in the produc- 
tion of effects upon a large scale, as compared with 
the concealment of small objects. 

Chiaroscuro is a principle depending upon varia- 
tions of shade and tint for the creation of deceptive 



228 



OUR MAGIC 



appearances. The painting of a flat surface to re- 
semble a concavity or convexity will represent an 
application of this principle. Similarly, the dis- 
guising of a hollow or projection to resemble a plain 
surface will equally fall within this category of de- 
vices. An example is the sunken cavity, used as a 
receptacle for small articles, in what appears to be a 
flat table-top, decorated with a painted or inlaid 
pattern. 



CHAPTER IX 



ACOUSTIC PRINCIPLES 

In the field of acoustics, the principles available for 
magical purposes are but few. But those are ex- 
tremely valuable, principally in combination with 
methods of other types. There are, it is true, one 
or two well-known inventions in which this branch 
of physics has been made the basis for illusionary 
devices; but, as a rule, it is applied to magic only 
as an adjunct, and by way of subsidiary effect. 

The first principle of this type is that of Mock 
Sound. It comprises all devices for the simulation 
of characteristic noises, such as normally occur in 
certain circumstances, but would be lacking when 
things are not precisely what they seem. In magic, 
it often happens that, since the things done and the 
things used are not exactly what they appear to be, 
sounds that would naturally accompany certain 
operations do not necessarily occur at the appropri- 
ate moments. Thus, if what appears to be a heavy 
weight is, in reality, nothing more than an inflated 
envelope, no sound will accompany the action of 
putting it down upon a carpeted stage. Therefore, 
in order to complete the illusion, it is desirable that, 
at the proper instant, the sound of a weight coming 
in contact with the floor should be imitated. In this 
case, of course, the best imitation is the real thing; 

229 



230 OUR MAGIC 

a weight being dropped, ofif-stage, as near as may 
be to the imitation article. The chief point would 
be to make sure that sound and action coincide. 
Otherwise, the "artistic verisimilitude" must become 
not a trifle w^orse than useless. In some cases, the 
sound accompanying a secret operation resembles 
that incidental to the operation apparently per- 
formed, thus avoiding all need for other simulation. 
An instance of this is the chinking of coins when 
conveyed into the palm of one's hand, while they ap- 
pear to be thrown from one hand, to the other. The 
devices for imitating characteristic sounds are many 
and of various kinds. Some are mechanical, like 
the ''ticker" which gives the sound of a watch. 
Others are manual, like the simple devices used for 
imitating the rattling of covered objects which are 
not under the cover. Such methods, in common 
with the generality of this type, are well understood 
and require no particular reference in this place. 

Conveyance of Sound is a principle which, at first 
sight, would seem to be capable of wide develop- 
ment in connexion with magic. The fact is, how- 
ever, that the practical difficulties to be overcome in 
rendering the mode of conveyance secret or, at the 
least, not easy of detection, are very great. The con- 
veyance of messages by speaking tube, a method for- 
merly used in certain forms of so-called ''second- 
sight," can scarcely be regarded as an adaptation of 
the present principle. This particular group of 
acoustic devices, properly speaking, includes only 
those intended for the conveyance of sounds audible 
to the audience. The illusion known as "The In- 



ACOUSTIC PRINCIPLES 



visible Orchestra" is an example of tricks upon this 
principle. In that invention the sound was conveyed 
by wooden rods from instruments below the stage 
to their counterparts above. Another trick belong- 
ing to this group is that which was used in connec- 
tion with "The Speaking Head" illusion. In that 
instance, the sound was carried by tube to a wide- 
mouthed orifice, and received in another attached 
to the head itself, and thence to the mouth, from 
which the sounds were supposed to emanate. The 
device, however, was not very satisfactory in its 
operation. As may be anticipated, sounds so con- 
veyed would obviously have their origin elsewhere 
than in the head itself. These two examples will 
suffice to indicate the nature of the drawbacks in- 
herent to this principle, from a magical standpoint. 

The Disguise of Sound is a principle seldom em- 
ployed in magic, except in so far as it relates to 
drowning one sound by another. The converse ap- 
plication is that of preventing the occurrence of 
sounds, which would, otherwise, disclose operations 
intended to be kept secret. The latter object, how- 
ever, is usually attained by physical means, rather 
than by the aid of acoustic principles. Thus the 
disguise of sound would ordinarily consist in the pre- 
vention of sounds not wanted and the substitution of 
sounds required. 



CHAPTER X 



ELECTRICAL PRINCIPLES 

In electricity, we have a branch of physics that 
has rendered substantial aid to the cause of magic. 
The vast reputation gained by Robert-Houdin was, 
in no small degree, due to the facilities which, in 
its early days, electricity placed at the disposal of 
magicians. At the present time, no doubt, the con- 
tinual spreading of scientific knowledge has robbed 
electrical processes of their former mystery, to a very 
great extent. We cannot, now, hang up a drum with 
electrical tappers concealed inside it, and expect an 
audience to be mystified by hearing that drum played 
invisibly. The day for that sort of thing has gone 
by, never to return. Yet, in spite of its shorn 
grandeur, electricity still remains a most valuable 
servant to the magician who takes the trouble to 
become its master. 

Among magicians at large, there exists some 
prejudice against electricity, on the ground of its 
supposed uncertainty. There is an idea that electri- 
cal devices are essentially unreliable, and are subject 
to frequent failure at critical moments. It may be 
said, at once, so far as electricity itself is concerned, 
that this charge of alleged unreliability is entirely 
without foundation. And, with regard to electrical 
appliances, when a failure occurs, it is due to some 

232 



ELECTRICAL PRINCIPLES 



mechanical fault, ninety-nine times out of a hundred; 
and the fact of electricity being used as the motive 
power has nothing to do with the matter. If only 
the apparatus be properly constructed and installed, 
the electricity upon which its operation depends 
may be relied upon, absolutely. There is no form of 
energy more certain in its action. But, if the con- 
struction and installation of the mechanical devices 
be not efficiently carried out, there are bound to be 
failures, and many of them. Then, in all proba- 
bility, the blame will fall, unjustly, upon the elec- 
tricity; instead of falling, as it ought, upon the 
tinker who made the appliances and the landscape 
gardener who put them in place. 

It may be admitted, without argument, that the 
conditions in which electricity has to act when used 
for magical purposes, differ immensely from those 
with which it is normally associated elsewhere. 
The devices it has to control, when used in magic, 
are necessarily ^^tricky" in both structure and opera- 
tion. For this reason, a motive power such as that 
of electricity, which depends for its efficiency upon 
the making of proper connexions, necessitates some 
care in adaptation to the special circumstances of the 
case. This simply means that, if worked by elec- 
tricity, tricky devices of faulty construction are more 
liable to play tricks than if they are operated 
mechanically. The moral is that string and sealing- 
wax, not to mention elastic bands and tintacks, are 
not fit associates for electricity. Primitive ma- 
terials of that nature may consort well enough with a 
box of conjuring tricks, as advertised; but an agent 



234 



OUR MAGIC 



so refined as electricity demands other and better 
means for its employment. 

The first principle set down in this group is the 
Conveyance of Power through Supports. Here, of 
course, entirely stationary and solid supports are un- 
derstood. In other types of physical magic there are 
devices by which power is conveyed through pillars, 
legs, cords, chains or what not, to the appliances 
thereby supported. But in those other types, the de- 
vices must include some mechanical trickery in their 
construction, and some movement of or within the 
support itself. In the case of electricity, no such re- 
quirement exists. Electrical energy demands for its 
conveyance nothing beyond a continuous metallic 
circuit — a ^'line-wire" leading the current from a bat- 
tery to the device it operates and a "return-wire" 
completing the circuit by leading back again to the 
battery. Thus two conductors are always necessary 
for electrically operated mechanism. These may 
readily be formed, either in or by the supports them- 
selves. If the support be in itself a conductor, it will 
require to be insulated from all other conductors 
except the battery connexion. If it be a non-con- 
ductor, a metallic core or other conducting attach- 
ment must be provided. Obviously, there must be 
two supports, at least, if the current is actually con- 
ducted thereby. If there be only a single support, 
an insulated path must be provided internally. The 
double path being available, all that remains is to 
make sure of good contact between the ends of the 
two conductors and their appropriate connexions. 



ELECTRICAL PRINCIPLES 235 



All being in order, one has only to press the button, 
and electricity will do the rest. 

The next electrical principle on the list is that of 
Trigger Action by Electric Current. In this, we 
have a means which should be useful for many pur- 
poses in the practice of magic. We say it should 
be so, because it has not as yet been adopted so fre- 
quently as its merits appear to deserve. The princi- 
ple consists in the use of an electro-magnet for re- 
leasing a motive power already stored up in a piece 
of apparatus. Thus any form of clockwork may be 
started or stopped, by moving its detent electrically. 
A supply of compressed air may be turned on and 
off; a spring released, or a weight allowed to fall. 
In short, there are a thousand and one operations in 
which trigger-action is used, that may be most con- 
veniently controlled by an electro-magnet. There 
is also a great advantage in the fact that the magnet 
need have no contact with the device it moves. Its 
attraction will pass through all substances save those 
which are themselves magnetic. Therefore, so long 
as the distance across which the action has to take ef- 
fect is not too great, the magnet and its ^'keeper" may 
be insulated from each other entirely. 

The "Crystal Casket" of Robert-Houdin had an- 
other form of trigger-action by electric current. At 
a given instant, a wire, electrically heated, was 
caused to release coins concealed within the struc- 
ture of the casket. Many devices of a similar char- 
acter have been employed from time to time. The 
modern tendency, however, appears to be to rely 



236 



OUR MAGIC 



upon threads, and primitive contrivances of that 
nature, rather than to adopt the more refined elec- 
trical methods. In some instances, no doubt, 
limitations of space v^ould prevent the use of an 
electro-magnetic release; but, more often than not, 
it is possible to find room for some compact form 
of magnet. Therefore, it seems a pity that this con- 
venient agency should be allowed to fall into such 
undeserved neglect. 

The principle of communication by means of 
Electro-telegraphy or Telephony is so well under- 
stood, and its utility and convenience for special 
purposes of magic so obvious, that nothing need be 
said about it by way of explanation or illustration. 



CHAPTER XI 

CHEMICAL AND MOLECULAR PRINCIPLES 

The application of Chemistry to the production of 
magical efifects is of ancient date. Among the 
earliest technical records are to be found descrip- 
tions of experiments upon a chemical basis. Not 
always strictly magical, it is true ; but, very often, of 
a nature well adapted to the requirements of magic, 
as we regard it to-day. Of the former kind, the ex- 
periment sometimes described as being designed "To 
terrify with a great Noise without Gunpowder" is an 
example. "To seem to turn Water into Wine," how- 
ever, is one of the very old experiments which are not 
yet out of date and, probably, will survive for many 
generations to come. Indeed, so far as chemical 
magic is concerned, many of the older books strike 
one as being very nearly as much up-to-date as are 
some of the most modern. The ancient text-books, 
of course, contain descriptions of hypothetical ef- 
fects, presumably, supposed to have a chemical basis; 
but which, in the light of commonsense, can be re- 
garded only as survivals of superstition. Such an 
experiment, or series of experiments, is that "Of 
Magical Lights, Lamps, Candles, etc.," quoted in 
''The Conjuror's Repository a book published to- 
wards the end of the Eighteenth Century. The 
weird and wonderful effects attributed to the burn- 

237 



238 



OUR MAGIC 



ing of .certain oily compounds prescribed in the de- 
scription given, seem to a modern reader the con- 
ceptions of a disordered intellect. Still, there is 
every reason to suppose that the authors who wrote 
that kind of nonsense had implicit faith in the nos- 
trums they mentioned. We are bound to believe 
that, in describing some impossible and horrible 
thing as "both easy and pleasant to do," they had 
every confidence in their own veracity. Not only 
so, they had equal confidence in the reliability of 
those other persons, from whom their information 
had been derived. Needless to say, the writers 
could never have tried the experiments for them- 
selves ; or the failures they must inevitably have ex- 
perienced would, at least, have convinced them that 
the word ''easy" was out of place in their account of 
the matter. 

The first chemical principle in the list is the 
Apparent Transformation of Substance. In most 
cases, the transformation is not only apparent, but 
also real. An illustration of this fact is seen in the 
experiment, already mentioned, of turning water 
into wine. The transformation is brought about by 
effecting a real change of chemical combination. 
The efifect, however, is only apparent, in the sense 
that the supposed water and wine are not both what 
they appear to be. The water, perhaps, may be 
genuine — perhaps not. But, in any event, one may 
feel certain that what is apparently wine has nothing 
of the grape in its composition. Still, even that 
characteristic is not uncommon among commercial 
vintages, unrelated to the practice of magic. Then, 



CHEMICAL PRINCIPLES 239 



what we mean by the ^'apparent" transformation of 
substance is the changing of what appears to be a 
particular material or product {e. g.^ water) into 
what appears to be one of entirely different nature 
or composition {e.g., wine). This principle is 
often employed in combination with mechanical de- 
vices, whereby the chemical changes are supple- 
mented and rendered more impressive. By such 
means, the effect produced is made far more strik- 
ing than would be the case were chemistry alone em- 
ployed. It may be accepted as a general rule that, 
with a mechanical amplification of some suitable 
kind, skilfully contrived and efficiently manipulated, 
any form of chemical change is likely to become far 
more valuable in magic than it could possibly be 
made, apart from such embellishment. 

The principle of Ignition by chemical means is 
especially familiar in connexion with chlorate of 
potash and sugar; the igniting reagent being sul- 
phuric acid. Undoubtedly, the cleanest and safest 
method for bringing the acid into contact with the 
other ingredients, as and when required, is that of 
confining it within capillary tubes of glass, sealed at 
either end. One of these tubes, together with a 
pinch of chlorate mixture, being twisted up in a 
scrap of ''flash-paper," a slight pressure serves to 
break the tube and, thus liberating the acid, to ignite 
the whole. 

The principle of chemical ignition, however, is by 
no means confined to this special device in magic. 
There are many other reactions, by which heat or 
flame may be produced, and which are equally adapt- 



240 



OUR MAGIC 



able to the magician's requirements. Notably the 
spontaneous combustion resulting from the applica- 
tion of water to potassium is commonly used in con- 
nexion with fire-bowls, as they are called. These 
appliances are, generally speaking, made in the form 
of shallow dishes, the edges of which are deeply re- 
curved, and their centres fitted with upright metal- 
lic points. A pellet of potassium being impaled 
upon the central pin, the bowl is turned edgewise up 
and a sufficient quantity of water and sulphuric 
ether poured into the hollow rim. So long as the 
bowl remains edge up, nothing happens beyond 
evaporation of ether. But, so soon as the vessel is 
turned into a horizontal position, the water comes 
into contact with the potassium ; the hydrogen liber- 
ated by the chemical combination that ensues is ig- 
nited by the resultant heat; and, in turn, sets fire to the 
ether. 

Whatever form of chemical ignition be adopted, 
the means for conveying the flame to the material 
finally burned must receive some consideration. 
Usually, the ignition is applied to some readily com- 
bustible substance, such as the flash-paper or ether 
already mentioned. In some special cases, handker- 
chiefs or other fabrics of cotton are treated with the 
nitro-sulphuric acid used in making flash-paper — 
thus being converted into a true gun-cotton. These, 
of course, are readily fired by chemical reagents. 
But, when some slowly burning substance has to be 
ignited the semi-explosive combustion of such mix- 
tures as that of sugar and potassium chlorate, is too 
short in duration to act with certainty. Instead of 



CHEMICAL PRINCIPLES 241 



setting fire to the substance that requires burning, 
the sudden flash may only produce smouldering. 
Therefore, it becomes necessary to supplement the 
chemical device by some material, sufficiently rapid 
in combustion to be instantly lighted, but not so rapid 
as to burn out before the intended substance has 
caught fire. For this purpose, there is probably 
nothing better than an ordinary match. Conse- 
quently, if the latter be used, mechanical ignition 
may be found no less convenient and far less compli- 
cated than any chemical method. 

Change of Colour by Chemical Reaction is, 
properly speaking, and apart from change of sub- 
stance, a principle seldom used in practical magic. 
It relates, exclusively, to change of colour without 
change of form or substance; and must not be con- 
fused with such incidental colour changes as occur 
in experiments that relate to the apparent changing 
of one substance to another. The general mode of 
application consists in treating a fabric or other 
material with some chemical which, when acted upon 
by another, and thus modified either in chemical 
composition or physical condition, changes its 
former hue completely. The blue colouration of 
litmus in the presence of an alkali, and its change 
to red when acted upon by an acid, may be quoted 
as an example of such effects in general. Again, the 
bleaching action of sulphurous acid, either in the 
form of vapour or in its nascent state, as liberated 
by chemical reaction is a well-known means for de- 
stroying colour. It is commonly used in experi- 
ments with supposed ink and water; the acid being 



242 



OUR MAGIC 



liberated from sodium hyposulphite, as a rule. In 
fact, many of the reagents used in producing ap- 
parent change of substance or composition are 
equally applicable to change of colour alone. 

Invisible Writing is a principle almost as old as the 
hills. Ovid, for instance, mentions several devices 
by v^hich messages can be written invisibly, even upon 
a vehicle so unsuspected as the skin of a lady's serv- 
ing-maid, and rendered legible by the person for 
whom they are intended. The ancient text-books 
of magic contain numerous recipes for secret writ- 
ing; a large proportion, however, being manipula- 
tive in character, rather than chemical, come under 
the heading of preparation. Still the principle 
of invisible writing by chemical agency was per- 
fectly familiar to the ancients, as the recipes for 
"Sympathetic Inks" and so forth clearly prove. In a 
general sense, it may be said that this present princi- 
ple is but a special application of that relating to 
colour changes in general. Chemical reactions 
which are applicable to change of colour upon a 
larger scale, will often apply equally well to the 
writing of messages with colourless liquids, which 
may be coloured by special treatment. 

Molecular principles, in so far as they relate to 
magic, are so nearly allied to those of chemistry that 
it is difficult to dissociate one from the other. We 
have an illustration of this general difficulty in the 
colour changes produced in litmus by the action of 
acids and alkalies respectively. Although the lit- 
mus becomes blue in the presence of an alkali, and 
red when made acid, there is no reason to suppose 



CHEMICAL PRINCIPLES 



that any definite chemical change accompanies the 
change in colour. Again when the mixture of two 
chemical solutions produces a solid compound, the 
physical difference is undoubtedly due to a change 
in chemical combination. The change of colour in 
litmus and the change of state from liquid to solid 
in the chemical mixture are both molecular in char- 
acter. Yet, the first cannot occur in the absence of 
chemical reagents, while the second is absolutely de- 
pendent upon chemical combination. Therefore, it 
is advisable to limit the molecular group of magical 
processes to those in which chemistry has clearly no 
prominent part. 



CHAPTER XII 



MAGICAL INVENTIONS 

The importance of the subject dealt with in this 
chapter can admit of no argument whatever. Both 
practically and theoretically, it is one of the most 
vital topics comprised in the whole range of magical 
studies. From a technical standpoint, it represents 
the goal towards which the aims of every honourable 
magician are directed, when seeking to add to his 
repertoire — and, incidentally, to his reputation. 
Like all else in the world, magic cannot stand still. 
It must either advance with the times or fall behind 
them. And, in this connection, the one quality 
which, above all others, is essential to progress is 
novelty. Without novelty in some form or other, 
nothing can be achieved in the way of progress. 
Every step forward is, necessarily, a new step. It 
breaks new ground, opens up new views, and in- 
volves a definite change of position. In short it 
represents novelty, in every sense of the word. In 
magic, as in all other forms of applied science, the 
terms novelty and invention are synonymous. With- 
out invention there can be no novelty; and without 
novelty there can be no invention. In view of these 
facts, it is evident that any treatise upon magical 
technics, in which the subject of invention is not 
dealt with, must be incomplete and unsatisfactory. 

244 



MAGICAL INVENTIONS 245 



In this present chapter, therefore, we shall discuss 
the nature of magical inventions, and means by 
which such inventions may be evolved. Not, be it 
understood, the means whereby all the inventions in 
magic have been and are to be made. There are 
constantly being produced, in every branch of hu- 
man activity, inventions which even their own in- 
ventors could not trace to a definite origin. It is, 
however, quite possible to demonstrate certain means, 
available to those who seek real advancement, by the 
aid of which the work of invention may be greatly 
facilitated; and, in some instances, actually brought 
to completion. It is in this connection that the value 
of theoretical study is most prominently displayed. 

There can be little doubt that, however interesting 
in itself the theory of magic may be, it will receive 
but scant attention from those who live by magic, 
unless the study of this particular branch of the sub- 
ject can be shown to have a monetary value. It is 
not in human nature to adopt any other attitude upon 
such a question. The man who has his living to 
gain is bound to give his chief attention to the mak- 
ing of profits. So, if there be no money to gain by 
the study of theory, most men will give theory the 
coldest of cold shoulders. But, as it happens, tech- 
nical theory usually is worth money to those who 
understand it. In the case of magic, no less than in 
other callings of a professional character, the results 
to which theoretical knowledge may lead can be 
valued in shekels of gold and shekels of silver. 

That novelties connected with magic are extremely 
valuable, must be patent to all. The avidity with 



246 



OUR MAGIC 



which such novelties are sought, on every hand, to 
say nothing of the importance attached to them by 
their inventors, would suffice to prove their value, 
even if all other evidence were lacking. Then, if 
it can be shown that the theory of magic constitutes 
a substantial aid to the production of novelties, its 
importance to the welfare of magicians, will need no 
further demonstration. That is what we propose to 
show. 

We feel sure that much of the plagiarism, too com- 
mon among magicians, is due to the fact that writers 
upon magical topics have usually given but little in- 
centive to original effort. Instead of putting for- 
ward stimulating suggestions, the rule has been to 
deal only with bald statements and descriptions 
which, apart from higher knowledge, can only foster 
a spirit of servile imitation. In the unwarrantable 
glorification of ''How it is Done" the far more 
worthy consideration of how to do what has not 
yet been done, seems to have been almost entirely 
forgotten. The beaten track, and that only in dis- 
connected sections, is what the student of magic, 
apparently, is expected to regard as his sole field of 
investigation. The need for seeking new paths, or 
even for tracing the connection between familiar sec- 
tions of the old track, is an idea of which one seldom, 
if ever, receives a hint. To some extent, at any rate, 
we hope to remedy this very prevalent fault. By 
indicating sources of inspiration available to all, and 
pointing out systematic methods of working, we may 
possibly aid original effort on the part of some who 



MAGICAL INVENTIONS 247 



have hitherto been content to snatch at crumbs, so to 
speak, from the tables of other men. 

In the first place, then, we must define what con- 
stitutes an invention, magical or otherwise. This is 
extremely necessary, because so many people have 
but vague ideas upon the subject. Some do not re- 
alise the difference between an invention and a dis- 
covery. Others do not even realise the difference 
between an invention and an idea. Yet it should be 
obvious to all that an invention must necessarily be 
an example of applied science. Therefore, even the 
newest discovery, or the newest idea, cannot be re- 
garded as an invention. It is only when the discov- 
ery has been embodied in some particular device, or 
the idea has been worked out in some practical form, 
that we have an invention. And, even then, the in- 
vention relates to the particular construction or 
method involved; not necessarily to the discovery or 
the idea upon which the invention has been based. 

For example, let us take the case of the steam- 
engine. It is commonly said that this invention was 
made by James Watt. But, was it? Certainly not! 
Hero, of Alexandria, constructed a steam engine, 
2,000 years before Watt's invention was made. 
Must we then, ascribe to Hero the invention of the 
steam engine? By no means. His invention and 
the 19th century steam-engine are as unlike as chalk 
and cheese. The simple fact is that nobody invented 
the steam-engine, but various persons have invented 
various kinds of steam-engines. Among those per- 
sons, James Watt takes a prominent place, as the 



248 



OUR MAGIC 



inventor of that form of engine in which the pressure 
of steam is utilised by means of cylinder and piston. 
Thus, the use of steam pressure as a source of energ}" 
is a ^^/z^r^/ principle, to which nobody can lay claim. 
It is an obvious application of the discovery that 
steam can produce pressure. The utilisation of a 
reciprocating piston, as a means for converting the 
molecular energy of steam into mechanical or kinetic 
energy, is a specific principle, with the develop- 
ment of which James Watt must for all time be as- 
sociated. Hero's invention was based upon another 
specific principle, differing entirely from that of 
Watt, viz. : — the reaction, upon a movable arm, of 
steam escaping at right angles to it. It is the same 
form of reaction that causes a sky rocket to ascend, 
and which, as derived from water pressure, was 
utilised in the invention known as Barker's Mill. 
The converse principle, that of producing motion 
by the direct action of escaping steam, instead of its 
reaction, has been adopted by Parsons, in the inven- 
tion of his admirably efficient steam-turbine. 

From the foregoing instances, most of which must 
be entirely familiar to the majority of our readers, 
the true nature of an invention may readily be de- 
duced. For example, it is entirely wrong to say that 
the steam-engine was ever invented at all. ''The 
steam-engine" implies and comprises all steam en- 
gines ; or, at any rate, a common basis which all in- 
ventors of such engines have utilised. There is only 
one such basis — that of steam-pressure. The use of 
steam-pressure as a means for supplying power, how- 
ever, is an idea which must inevitably occur to any- 



MAGICAL INVENTIONS 



one knowing that steam can produce pressure. Left 
undeveloped, that idea would remain a mere idea, 
and nothing more. In any event, it could not repre- 
sent an invention. When that obvious idea had been 
developed, by the invention of a steam-engine, it be- 
came a general principle to which all possible forms 
of steam-engines are referable. In like manner, the 
specific principles evolved by successive inventors 
must each represent a particular basis, upon which 
subsequent inventors might found new inventions. 
Thus, the cylinder and piston principle of Watt was 
applied by Stephenson to land locomotives and, by 
Fulton (though his claim to priority is contested), 
to the propulsion of vessels. Yet, we cannot say that 
Stephenson invented the locomotive engine, nor 
Fulton the steamship. All we can say, with truth, 
is that Stephenson invented a locomotive and Fulton 
a steamship. The application of the specific prin- 
ciple, originated by Watt, to the propulsion of vehi- 
cles, either on land or on water, is a mere idea which 
any booby might conceive. And any booby, having 
conceived that idea, would believe that he had made 
an invention. Then, so far, we have arrived at the 
^ following definitions : — 

A General Principle is a basis for classification of 
inventions in definite groups, according to funda- 
mental characteristics common to each group re- 
spectively. 

A Specific Principle is a basis for invention; and 
may itself constitute an invention. 

An Invention consists in the production of some 
novelty, in either principle, construction, method, or 



OUR MAGIC 



purpose, not merely put forward as a vague idea, but 
worked out in practicable form. 

The novelty it comprises, but that novelty alone, 
can be protected by patent. 

An Idea is a conception, which may or may not 
turn out practicable or valuable, but which has not 
been developed by embodiment in an invention. It 
cannot be protected by patent because it discloses no 
inventive achievement, no practical application of a 
specific principle; and, therefore, is not an invention. 
It is simply a suggestion or notion, which some in- 
ventor might, perhaps, think w^orthy of development. 
But, until that inventor's work has been done, the 
idea itself must remain but a suggested possibility, — 
at the best, a problem, which, in the end, may prove 
to be not worth the trouble of solving. 

Having these definitions for our guidance we may 
justly believe that we stand on safe ground. Since 
an invention essentially comprises some definite 
element of novelty, not merely in conception, but in 
the practical application of a specific principle, it is 
quite easy to indicate certain sources from which 
inventions may be derived. The common impres- 
sion that inventive genius necessarily consists in a 
faculty for conceiving new ideas, is quite erroneous. 
It depends, primarily, upon a faculty for exercising 
the imagination upon possible combinations hitherto 
unknown. The man who possesses the latter faculty, 
by accident of birth, is a born inventor. But inven- 
tors are not necessarily born. They can also be 
made. What has been withheld by nature may, to 
a great extent, be supplied by training. The man 



MAGICAL INVENTIONS 251 

who wants to invent, but does not know how to in- 
vent, can learn to invent, if he will but take the 
trouble. There are few men who need despair of 
becoming inventors. So long as a man has sufficient 
imagination to form some idea of what would be the 
immediate result, for example, if it were known for 
certain that the world would come to an end to-mor- 
row, or if the whole of mankind suddenly turned 
vegetarian, he has an inventor's chief qualification. 
The man who has no imagination cannot expect to 
gain the power of foreseeing possibilities and antici- 
pating results, without which no invention can be 
made. 

Then in the training of an inventor, the first essen- 
tial is cultivation of that most valuable of all mental 
gifts — imagination. There is a very common notion 
that time spent in imagining things must be time 
wasted. Yet the actual fact is that the most success- 
ful men are those who are able to imagine things not 
yet in existence, and means for bringing those things 
about. Such men are not dreamers, they are men of 
imagination. Between the two classes there is a vast 
difference. The dreamer is one who dallies with 
mental images — with hazy visions of what might be, 
if only somebody else would do something or other. 
The man of imagination, on the other hand, is one 
who exercises his brains upon problems relating to 
work which he himself intends to carry through, 
when those problems have been mentally solved. 
That is the kind of imagination an inventor wants. 

The faculty next in importance to that of imagina- 
tion is the power of observation. It is, undoubtedly, 



252 



OUR MAGIC 



true that inspirations seldom come to those who do 
not look for them. Equally true is it that there is 
little use in looking for inspiration unless one knows 
w^here and how to look. Therefore, it is necessary 
that an inventor's power of observation be well 
trained; not only in looking out for inspirations, but 
also in recognising the channels through which in- 
spiration may possibly come. 

One of the most extraordinary facts concerning in- 
vention in general is the evolution of conceptions in 
unbroken sequence. The inventor begins working 
out a certain problem he has conceived; and, as he 
proceeds, there grow out of his work suggestions 
which may lead to many new inventions. Each of 
these, again, may lead to further inspirations; and so 
on, indefinitely. As a general rule, inventions are 
not derived from accidental ideas, happy thoughts, 
or heaven-born revelations. Their origin is in the 
fact that inventors are always on the lookout for 
sources of inspiration, and always endeavouring to 
imagine novel combinations and novel applications 
of familiar devices. Then, when in the course of 
his work an inventor finds some detail lacking, which 
known devices or methods cannot supply, he is led 
to seek out in imagination, a new device or a new 
method — it may be, even, a new principle — that will 
fulfil his requirements. Having a definite aim in 
view, and the ability to imagine possible means for 
achieving that aim, the chances are a hundred to one 
that he finds what he wants. Thus, an inventor's 
work consists, not in a happy-go-lucky waiting for 
inspiration, but in laborious effort devoted to the 



MAGICAL INVENTIONS 



building up, mainly from fragments of existing 
knowledge, complete structures which possess the 
element of novelty, in some form or other. It is for 
this reason that the art of invention is capable of be- 
ing taught; or, rather, learned. Although there is 
much to be learned, very little instruction can be 
given. That little, however, is the small key which 
opens a very big door. 

In the present instance, what we have to do is to 
point out to the would-be inventor of magical novel- 
ties, where to seek for inspiration, and how to make 
use of it when obtained; always provided, of course, 
that the aspirant to inventive ability has learned to use 
his eyes and to exercise his imagination. Of course, 
the man who has a native talent for invention is 
bound to be more successful than one who has not 
that advantage. That goes without saying. Never- 
theless, a wide field exists for the work of those who, 
without special gifts, are willing to do their best to- 
wards inventing things for themselves. 

In magic, as in all other directions, the chief ' 
source from which inventors derive their inspira- 
tions is the work already done. But, this is where 
one wants to know where and how to search. It 
is absolutely useless to read magical works, or in- 
spect magical devices, and then confine one's atten- 
tion to what has been read or seen. One must not 
look at just what is directly in view; one must look 
all round it, above it and beyond it. One must not 
look at each invention singly, just for the sake of 
admiring it or copying it. One must seek for what 
may be got out of it, put into it or suggested by it. 



OUR MAGIC 



In almost every case there will be found something 
that may prove useful, if not immediately, at some 
future time. 

The most desirable discovery, of course, is a new 
specific principle. That is, therefore, the first thing 
for which one should be on the lookout. Next to 
that comes the suggestion of a nover combination of 
details or a novel application for existing devices or 
principles. After having conceived a basis upon 
which some novel invention may be produced, the 
real w^ork of an inventor begins. So, at the outset, 
it is advisable to attempt something not too elabo- 
rate. In this respect, at all times, an inventor must 
be guided by a knowledge of the facilities he has for 
doing the necessary work of design and construction, 
or of getting it done by others. And, further, it 
must be remembered that such work, to the unini- 
tiated, usually seems a lot easier to do than they will 
find it if they try to do it themselves. Still, if it be 
worth doing, a m_an of energy will always find means 
for putting it through. 

Since "an ounce of practice is worth a pound of 
theory," according to the proverb, we cannot do bet- 
ter than to show that an ounce of theory can be made 
worth many pounds in practice. For this purpose 
we propose to invent a magical novelty, for the read- 
er's benefit; and to describe, step by step, the process 
of its evolution. Having done so, we will, further, 
point out such possibilities of future development as 
may be suggested by the invention as it stands. At 
the same time we give our word of honour that the 
invention shall have been solved precisely in the 



MAGICAL INVENTIONS 255 



manner described; and shall not be one already ex- 
isting, that has been dissected and analysed for the 
purpose of making up a story. 

In order to begin at the most elementary condition 
possible, we will take for our starting-point a general 
principle; preferably, one that is not commonly em- 
ployed. We will select that of trigger-action by 
electro-magnet, and see what can be done with it. 
To this end, of course, our first aim must be to as- 
certain, so far as possible, what has already been done 
upon the principle we have adopted. According to 
our present knowledge, it would appear that there 
is but one specific principle upon which magical . ap- 
paratus embodying an electro-magnetic trigger has 
ever been constructed. That is the principle of con- 
cealing, within the appliance containing mechanism 
controlled by trigger, an electro-magnet to which 
the current is conveyed through suspending wires. 
Such being the case, we must get away from that 
principle, if possible. The most obvious way of so 
doing is to put the magnet somewhere outside the 
apparatus containing the trigger mechanism, and to 
do away with the suspending wires. 

Here, we arrive at two perfectly definite conclu- 
sions. Since the magnet must be outside the appli- 
ance containing the trigger, we must devise some 
means for effectually concealing or disguising the 
magnet; at the same time, bringing it sufficiently 
near to the trigger it has to operate. And, since 
hanging supports must be discarded, the trigger ap- 
paratus must stand on a table of some kind. Elec- 
tricity being our motive power, the best form of table 



256 



OUR MAGIC 




be concealed. At once, we recall to mind the glass 
topped tables commonly used by magicians. The 



MAGICAL INVENTIONS 257 



very thing! The central screw which fastens the 
glass top to its supporting pillar may form one pole 
of an electro-magnet concealed within that pillar. 
And if the hollow head of the pillar be made of iron, 
it will form the second pole of the magnet it con- 
tains. We thus obtain a ''con- 
centric" electro-magnet most 
efSciently disguised, and 
brought within effective 
range of anything stand- 
ing upon the 




Figure B. 



table top. 
Fig. A will serve 
to show the actual 
construction of this 
device. 

The next considera- 
tion will be the means 
of exciting the electro-magnet from without. The 
most convenient connection, of course, is through the 
feet of the table. The tripod and pillar, being of 
metal, will provide one of the conductors, the other 
may readily be made by passing an insulated wire 
down the hollow stem, and thence in a groove on the 
under side of one of the legs to an insulated metal 
stud fixed into the foot. With this method one end 
of the bobbin wire would be connected to the metal 



258 



OUR MAGIC 



tube, and the other end to the wire passing down 
within it. Two metal discs on the floor, apparently 




Figure C. 



carpet pins, would from the terminal ends of the bat- 
tery circuit. Upon one of these would stand the 



V 



MAGICAL INVENTIONS 259 

insulated stud, and upon the other would be placed 
either of the solid feet of the tripod. Fig. B shows 
the method of fixing the insulated block, with metal 
stud connected to the inner wire which, in Fig. A, 
is seen passing down from the bobbin. Fig. C shows 




Figure D. 



the complete arrangement, with battery and operat- 
ing key represented diagrammatically. In Fig. A is 
indicated, approximately, the position in which a 
catch or detent should be placed for operating by the 
concealed electro-magnet. 



26o 



OUR MAGIC 



Fig. D is a plan of the table top. The central 
screw, marked a, is the inner pole of the magnet, and 
the annular ring b is the outer pole. 

Fig. E shows the best way of applying the arrange- 
ment to the release of clockwork or other source of 




n 

H 



Figure E. 

energy within a case of any kind. Needless to say, 
the parts concerned in conveying magnetic force be- 
tween the two poles should be of iron, and should 
form the shortest magnetic path. For this reason 
the metal disc which forms the upper cheek of the 
bobbin should not be nickelled. Otherwise, nickel 
being a magnetic metal, a coating upon the disc 



MAGICAL INVENTIONS 261 



which fills in the mouth of the magnet would tend 
to form an alternative path for their magnetism, and 
thus minimise the attraction of anything outside. 

Having reached this point, we can imagine some 
magicians saying that they do not see much in the 
device above described. It is all very well, in its 
way, but what can one do with it? To this, we an- 
swer, one may do with it so many things that it is 
impossible to foresee more than a minute fraction 
of the number. This is a question which involves 
one of the most important points we have in view, 
and the insistence upon which is one of our chief 
objects in writing this book. 

The common tendency, among magicians, is to 
appreciate only those devices in which some prac- 
tical application has been cut and dried; which have 
been definitely embodied in the production of some 
particular effect. When every detail has been 
worked out, when the stage business has been organ- 
ised, the manipulation arranged and the efifect ob- 
tained, then only is a device worthy of consideration.' 
The possibilities associated with a device, the pur- 
poses to which it may be applied, the money to be 
made out of it by the exercise of thought and ini- 
tiative, are passed over as of no account. So long 
as the device has not been actually used in connection 
with some successful production, it has no value, in 
the eyes of far too many among those who practice 
magic, either professionally or as amateurs. This 
tendency we most earnestly wish to combat; for it is 
the chief obstacle to be removed before magic can 
take its proper share in the world's progress. So 



262 



OUR MAGIC 



long as an appreciable contingent of magical per- 
formers can remain content merely to buy, begj bor- 
row or steal from others — to do nothing beyond that 
which others have done, to aim at nothing higher 
than a slavish imitation of original work, to have no 
use for anything that does not come to hand complete, 
lock, stock and barrel — so long will magic remain 
condemned to unmerited disrepute. 

The little invention we have described will show 
how small is the need for reliance upon other people, 
in obtaining novelties. In the whole description 
there is not included one single detail that is new, 
in actual fact. Yet, taken as a whole, it constitutes 
a novel method, capable of being patented. Not 
only so, it comprises a specific principle that is quite 
new, and may be made the basis of many further in- 
ventions. Nevertheless, it has been arrived at by no 
stroke of genius, but merely by the putting of this 
and that together, in connection with a general prin- 
ciple selected haphazard. It is an example oif the 
facility with which inventions may be made, by sys- 
tematic use of the advantages gained by studying the 
theory of a subject, instead of blindly trusting to luck 
for possible inspiration. If, instead of waiting for 
something to turn up, one looks around upon what 
already exists, to note the directions in which there 
appears some promise of useful development, the aid 
of theoretical knowledge will always render the crea- 
tion of novelties a matter of no great difficulty. So 
vast an amount of knowledge and so manifold an 
array of inventions are already common property, 
that one need only ring the changes upon existing 



MAGICAL INVENTIONS 263 



combinations, to produce something novel, in one 
sense or another. 

There is also another point worth considering and 
one to which we do not remember any reference 
being made in works dealing with magic. It is this. 
The work of originating an invention is, by far, the 
most pleasant and least laborious of all that has to 
be done in the course of its evolution. The work 
inseparable from the perfecting of minor details is 
the most tedious and the most trying. Thus the man 
who invents something original has compensations 
of no mean order, which are denied to one who 
merely takes up the threads, woven by another man, 
at the point where all originality ceases. It follows 
that, since the man who appropriates a magical in- 
vention has still to do all the detail work connected 
with it, he would be far more agreeably and profit- 
ably employed had he taken the little extra trouble 
required for bringing out something of his own crea- 
tion. 

Returning to our present invention, it is obviously 
capable of being adapted to two general purposes. 
One is the operation of a detent, or trigger device, 
the other is the direct production of movement. In 
the latter case, of course, the range of movement 
must not be greater than the magnetic attraction will 
bridge with certainty. These two purposes, it will 
be seen, relate to a wide range of existing effects in 
magic, and will yet relate to a far wider range in the 
magical inventions of years to come. Although it is 
impossible, herein, to deal with this side of the ques- 
tion in any adequate manner, we will just glance at 



264 



OUR MAGIC 



one or two applications of the principle, and point 
out one or two ideas which those applications sug- 
gest. 

Among well . known trigger devices the '^Crystal 
Casket" of Robert Houdin, naturally occurs to mind. 
The reader will remember that this casket was a 
small box, rectangular in shape, having glass sides, 
bottom and lid, mounted in a framework of metal. 
In the centre of the lid was an ornament of embossed 
metal, sufficiently large to conceal a few coins. The 
inner plate of this ornament formed a cover for the 
coins ; holding them in place, and being secured with 
a piece of thread. The latter was in contact with a 
fine wire, which became red-hot when a current of 
electricity was passed through it. Thus, at the 
proper moment, the coins were released, and allowed 
to fall upon the glass below. In an apparatus of 
this kind, if placed upon the table above described, 
instead of being hung upon wires, a simple catch 
could replace the burnt thread. Probably more ef- 
fective would be a device loaded into, say, a bor- 
rowed hat standing upon the table. Then, the coins 
would be heard to fall upon the table itself. 

In the case of an appliance with glass sides and 
metal edges, such as Robert Houdin's casket, it might 
be possible to utilise the familiar split coins, folding 
them up within the metal framework. The glass 
would then be absolutely free from opaque ex- 
crescences, behind or within which the coins could 
be hidden from view. A florin, when cut into four 
strips, would require a cavity only five-sixteenths of 
an inch in width. This might readily be provided 



MAGICAL INVENTIONS 265 



within the metal framing of a small glass box. A 
simple flap, magnetically released, would be all the 
mechanism required for securing the coins until the 
moment of their production. 

In connection with the second class of applications, 
where the magnet, instead of controlling a release, 
produces direct and visible motion, an example is 
illustrated in Fig. F. That figure shows an adapta- 
tion of the present invention to De Kolta's tapping 




Figure F. 

hand. It will be seen that the only addition to the 
hand itself consists in a thin strip of iron concealed 
within the wrist. The lower end of the strip is 
placed in proximity to the outer pole of the magnet, 
while its other extremity stands above the central 
screw which forms the inner magnetic pole. The 
attraction between the centre screw and the iron 
strip, which will occur whenever a current flows 
through the bobbin wire, draws down the wrist and 
tilts up the fingers of the hand. On interrupting 
the current, the magnet ceases to act, and the fingers 



266 



OUR MAGIC 



fall again upon the table top. A small glass bead, 
or other hard substance, attached to the middle 
finger, will give the required ''tap," readily heard in 
all parts of a large theatre. So long as the object 
to be moved can be made light enough, the possible 
amplitude of motion, obtainable by systems of lever- 
age, may be comparatively large. For exam.ple, it 
would be quite practicable, given plenty of current, 
to produce an effect such as the ''Rising Cards," by 
direct movement from the table magnet. Or, again, 
it might be practicable to load on to an article stand- 
ing upon the table a card or other flat object lying 
unobserved upon the table top. 

Another idea suggested by this device is the use 
of a steel magnet in place of the iron armature. In 
that case, two different movements could be made to 
occur, at will, in accordance with the direction of the 
current passing through the magnet-bobbin. Then, 
when the poles of the table magnet are given the 
same sign as those of the permanent magnet nearest 
to them, the latter will be repelled. Reversing the 
current, of course, reverses the polarity of the electro- 
magnet, and then the permanent magnet is attracted. 
In this way, two distinct motions may be finally pro- 
duced; two distinct trigger actions released; or two 
distinct motive powers controlled. 

This magnetic form of control has an advantage 
that no possible device of a mechanical nature can 
possess. It enables one to produce effects such as 
those we have just mentioned, in an absolutely clean 
manner, even under a stranger's very eyes. This, in 
itself, is no small matter; seeing how much depends, 



MAGICAL INVENTIONS 267 



very often, upon the impression a performer can 
make upon ''the man from the audience." When, 
in addition, the method involves nothing likely to 
arouse suspicion, and also reduces risk of detection 
to a minimum, there is good reason for believing 
that it is a good thing, well worth turning to account. 

Before concluding this section of our book, we 
would, once again, impress upon magicians of re- 
pute, and also upon aspirants to that rank, the need 
that exists for original work. No doubt, it is very 
interesting to reproduce effects that other men have 
originated, to practice manipulations that other men 
have introduced, in short, to do clever or effective 
things with which other men have achieved success. 
But, looking at the matter fairly and squarely, it be- 
comes evident that achievements of that subordinate 
character are of no very great account. So far as 
personal merit is concerned, second-hand magic, at 
the best, cannot do more than to show a performer's 
ability to repeat a lesson he has learned. With re- 
gard to the art of magic and its progress, such work 
can have but little value, indeed. Those who are 
constantly looking out for novelties to imitate should 
remember these facts. In truth, one had far better 
take up old inventions, which give no chance for 
imitating any living artist, than to stand confessed 
a second-rate performer who can do nothing unless 
dry-nursed by abler men. Not only so, it is most 
likely that nine spectators out of ten will assume that 
the new but second-hand productions have been ap- 
propriated illegitimately: in other words, have been 



268 



OUR MAGIC 



stolen from the original inventors. That kind of 
practice can do but little good to the performer him- 
self, and is bound to do great harm to his calling. 
People can have but small respect for a profession 
in which the chief aim of its members, as a rule, is 
to acquire other men's ideas; instead of being to 
emulate the success of other men, while avoiding the 
blind imitation of things already done. 

There is only one course of action, by which the 
art of magic can be advanced and the repute of the 
magical profession enhanced. That is, for each one 
of us to put his shoulder to the wheel, and do all he 
can towards pushing forward. It is beyond question 
that time and effort given to the mere imitation of 
another man's work can be nothing more than time 
and effort misspent, in going over old ground. 
Whereas, by striving to break new ground, every 
step and every effort must be of some service, to the 
art and to its followers, alike. Not only so, it must 
be clear to everybody, either in the magical profes- 
sion or out of it, that there is far more money in 
original work than in the unnecessary repetition of 
past history. Not that the average imitator con- 
siders his work unnecessary. On the contrary, he 
feels that, by scrambling after colourable imitations 
of all the latest novelties, he is ^'keeping up to date." 
That is a curious fallacy; since, beyond all question, 
the man who works on those lines must always arrive 
a day after the fair. He can never be up to date, 
because he perpetually lags behind, waiting his 
chance to follow in the wake of somebody else. 

The simple fact is that, to condemn oneself to an 



MAGICAL INVENTIONS 269 



arduous struggle for existence, and a second rate 
position, at the best, when better fortune lies within 
reach, can only be described as sheer folly. To the 
man who w^ill arouse his mind to some sense of ini- 
tiative, and will open his eyes to facts that stare him 
in the face, the doing of original work in magic re- 
quires scarcely more efifort than would be necessary 
in imitating work already done. We do not ques- 
tion the fact that some men, more than others, have 
the faculty for conceiving new ideas. That is so in 
every calling that gives men a chance of using their 
brains. In every kind of work, mental or physical, 
there are bound to be degrees of skill, higher and 
lower, to which various workers respectively attain. 
In no case can all be equally skilful. Even the road- 
sweeper, who displays a positive genius for scaveng- 
ing the open roadway, may prove incompetent 
when confronted with the task of clearing the gut- 
ters. In magic, as in all other forms of human 
activity, it cannot be expected that all workers will 
have an equal facility in carrying out the work that 
lies before them. At the same time, it may be ex- 
pected, with justice, that every individual magician 
shall add his contribution to the sum of magical 
achievement, according to the talents with which he 
has been endowed by nature. That is all we have 
a right to expect; but it is the least he has a right 
to give, in exchange for the value he receives from 
others. The man who is absolutely incapable of 
original work in magic is unfitted for practicing the 
art, and should seek for a more appropriate call- 
ing. The man who could, but will not do such work, 



270 



OUR MAGIC 



should be sent to Coventry by all magicians who have 
self respect; and, therefore, respect their profession. 

In magic, as in all else, the greatest aid to success 
is a complete understanding of the subject, so far as 
available knowledge extends. In any technical sub- 
ject, such as magic, a complete understanding cannot 
possibly be possessed by anyone who lacks theoretical 
knowledge. Unless the theory — the inner constitu- 
tion of a technical subject — be known, no man, how- 
ever well qualified otherwise, can realise the present 
state of knowledge, or plan his future course with 
any confidence, beyond that due to blissful ignorance. 
The theory of magic, as such things go, is compara- 
tively simple. It is, however, none the less impor- 
tant on that account. Its very simplicity renders a 
lack of knowledge the less excusable on the part of 
those who ought to possess it. And, seeing how use- 
ful that knowledge becomes, when one is seeking for 
novel suggestions and inspirations, the magician who 
neglects this branch of his subject must be accounted 
blind to his own interests, to say no more than that. 



PART III 
THE PRACTICE OF MAGIC 



CHAPTER I 



WITH PLAYING CARDS. THE TRIANGLE 

With playing cards the conjurer has countless- 
experiments but surprisingly few different effects, 
although these have been exploited in innumerable 
ways. We will take as an example the effect which 
depends upon a certain card or a number of cards 
being chosen or selected from a pack and being af- 
terwards discovered in another part of the pack or in 
some other place altogether. 

This effect has been repeated over and over again, 
in a great many ingenious ways. Probably the most 
striking of these is that known as "The Rising 
Cards," in which the chosen cards rise in a mys- 
terious way, one at a time, from the pack, which is 
isolated by being placed in a glass tumbler or some 
other receptacle. 

Another very successful and therefore very much 
copied (and, for that reason, hackneyed), feat of 
magic with cards is called "The Torn Card." A 
chosen card is torn to pieces by the selector who is 
asked to retain one piece. The other scraps are 
usually loaded into a conjurer's pistol, which is aimed 
at some such object as a plate, or a bottle, a candle, 
or the crown of a hat. After the pistol is fired, the 
card, apparently restored, with the exception of the 
missing portion, appears on the aforesaid object, as 

273 



274 



OUR MAGIC 



though it had been shot there and had become whole 
again in its flight. By conjurer's logic this is proved 
by the missing part fitting exactly into its place. As 
a final effect, the major part of the card is usually 
placed in a prominent position, and the small piece 
is apparently thrown towards it, or again fired at it, 
and the audience is duly surprised to see it visibly 
join itself to the rest of the card which, on examina- 
tion, is found to be whole and without flaw. 

Causing a card, or some cards, to pass from one 
place to another is a favourite effect. So also is the 
changing of a card for one of a different denomina- 
tion. A pretty example of this feat used to be ex- 
hibited by Verbeck who would take, say, a ten of 
clubs, and touching a green tie with it, cause the pips 
to turn green. When the card was passed over a 
yellow rose the spots would turn yellow, and thus, 
chameleon like, the ten printed signs would change 
to the colour of any object touched. Finally, on 
Verbeck touching his forehead with the card it be- 
came his photograph. We quote this as a brilliant 
and original variant of the changing of a card which 
feat usually takes the form of transforming an indif- 
ferent card into one that has been previously selected. 

Causing a number of cards to diminish in size, by 
manipulation of the conjurer's fingers, and convinc- 
ing the onlookers, at various stages, that the cards 
are becoming smaller and smaller, is a charming 
effect. The converse of this, the enlargement of the 
cards, or the multiplication of them, has been de- 
scribed in print, but we do not remember ever hav- 
ing seen it. 



THE TRIANGLE 



275 



Feats of arrangement, such as dealing oneself all 
the trumps at a game of whist, or causing particular 
cards to be found in a certain given order, may be 
classed as another kind of effect. 

Catching cards from the air, or rather, appearing 
to do so, and making them vanish, one at a time, from 
the finger tips, are also effects much in vogue. They 
are apt to appear akin to the feats of jugglery often 
exhibited by conjurers, such as throwing cards boom- 
erang fashion, or spreading them deftly along the 
forearm, springing them from hand to hand, and 
various eccentric shuffles, which can hardly be called 
feats of magic. In our opinion they are incomplete; 
they may impress the onlooker with the fact that 
the card manipulator is very clever, very dexterous, 
but the feats convey no mystery, and all idea of 
watching a real magician is destroyed by such diver- 
sions. 

A bogus scientific explanation is an excellent ex- 
cuse for a feat of magic, but it should always have 
a basis of probability — or rather, possibility. Other- 
wise, it is a mere insult to the intelligence of the 
audience, and will be resented by the more educated. 
It should take a natural physical law as its basis, and 
show what wonderful things can be accomplished by 
that law plus magic. The experiment should be 
quite possible granted that magic was true. An ex- 
ample of this method of presenting an illusion with 
cards is the following, performed by Dr. Herschell, 
a distinguished amateur. He called it 



276 



OUR MAGIC 



THE PERMANENCE OF RETINAL IMPRESSIONS. 

The performer brought forward a pack of cards 
and selected from it the ten of hearts and the ten of 
spades. The former he placed at the bottom of the 
pack which he inserted in a box attached to a little 
easel standing on the table. The front of the box 
was cut away so as to disclose the ten of hearts. The 
top of the box was closed and f astened so that it was 
impossible for a card to leave its position in the pack. 
He then explained to the audience that any impres- 
sion upon the retina of the eye lasted for an appre- 
ciable time, and illustrated this by showing the com- 
mon toy, the thaumatrope, in which a horse and its 
rider upon different sides of a card are combined 
into one image when it is rotated. He then ex- 
plained that if anyone looked at an object attached 
to the centre of a flat surface coloured black by a 
certain magical pigment the length of the persistence 
of the retinal image would be greatly increased. He 
attached the ten of spades to the centre of a small 
black thin piece of wood about ten inches square, and 
held it in front of the box containing the pack of 
cards, so as to hide it from the audience. The eyes 
of the audience having been kept fixed upon the 
ten of spades for a few seconds he moved the board 
away and the image persisted in such a manner that 
this card was seen to occupy the place in which pre- 
viously was the ten of hearts. When the performer 
lowered the board and instantly removed it the ten 
of hearts reappeared. This change was repeated 



THE TRIANGLE 



277 



several times and lastly both the cards in the box and 
the ten of spades attached to the blackboard were 
passed for examination. 

Granted the existence of the magical pigment there 
is no reason why the illusion should not have been a 
genuine experiment. 

Books on magic nearly always devote pages to ma- 
nipulative devices for use with playing cards, and but 
seldom does one read of a really new plot. We 
maintain that a really good illusion with cards is not 
simply a repetition of an effect which has been 
worked to death, however new and ingenious the 
means by which it is accomplished may be. We will 
not content ourselves with describing a series of de- 
vices and leaving the student to combine them into 
a presentable feat of magic; in fact, we do not pro- 
pose to set down here numberless ways of gaining one 
effect, or any dodges or sleights whatever except 
those which form part of the one illusion which we 
propose to place before our readers as an example— 
and simply as an example — of feats of magic with 
playing cards. 

Our plan for the following chapters of this work 
is this. We have discussed the Art of Magic, have 
attempted a definition of the Theory of Magic, and 
now we wish to give a general idea of the Practice 
of Magic. But, in the same way that the Japanese 
art collector does not confuse the senses of his vis- 
itors by exhibiting several specimens of one class of 
object but submits one, and one only, at a time, so it 
is our intention in each of these chapters, to give one 



278 



OUR MAGIC 



example of a complete and practical illusion with 
the object or objects named at the beginning of each 
chapter. 

To give a rough idea of the number of sleights, 
devices, and tricks with playing cards we will refer 
our readers to a catalogue of a great many of them 
which they will find at the end of this chapter. This 
index is the work of our friend, Professor Hoffmann, 
and was intended only for his private uses. In giv- 
ing us permission to publish it he wishes it to be dis- 
tinctly understood that it is not in any way complete. 
However, with the indexes to the card chapters of 
'^Modern Magic" and "More Magic"— books indis- 
pensable to any student — the list would be nearly 
complete. As our catalogue stands it will be most 
helpful, for there will be found all, or nearly all, the 
sleights available for any new effect that the reader 
may have in mind. 

We have pointed out how few really new effects 
there are in the whole range of conjuring with play- 
ing cards, and we would like to give an illustration 
of what we mean by a really new effect with cards. 
This was described to us by Mr. G. W. Hunter some 
years ago. Whether it has ever been presented we 
do not know, but it struck us forcibly as being quite 
a novel departure, exhibiting marked originality, in 
illusions with cards. 

The performer shows a table standing away from 
anything else on the stage. This table is one of the 
small round-topped variety with a single leg which 
terminates in three feet. The central upright is 
formed of glass tubing, and between it and the tripod 



THE TRIANGLE 



279 



below is a small box or drawer large enough to hold 
a pack of cards. 

A large handkerchief is thrown over the table and 
serves as a table cloth. A pack of cards is put into 
the box. Now, at the word of command the cards 
are seen travelling up through the glass tube, appar- 
ently journeying from the box to the top of the table. 
At the same time, the handkerchief slowly rises and a 
mysterious form is seen to be shaping through its 
folds. This goes on until the invisible structure is 
about two feet high, and then the movement stops. 
Very carefully the conjurer removes the silk hand- 
kerchief and discloses a Castle of Cards formed in 
the same way as those castles which most of us as 
children used to build, stage by stage, with infinite 
patience. To prove to the audience that the Castle 
of Cards has no solid foundations the conjurer gives 
the table a shake and the whole frail building col- 
lapses. 

We have not obtained permission to divulge the 
secret of this Castle of Cards. We have simply de- 
scribed it as a sample of the sort of thing that would 
be welcomed by audiences as something fresh, and we 
would predict that the man who presented a feat of 
magic as novel and as good would be quite a lion 
among his brother wizards, so rare is a new effect. 
Unfortunately, as is the case at the Zoo, when the 
lion roars all the other animals make a noise, and 
when a conjurer produces a novelty too many other 
conjurers seem to have no other object in life but to 
copy it and thus surfeit the public with that partic- 
ular feat. 



28o 



OUR MAGIC 



We most earnestly commend to these over zealous 
disciples the wisdom of producing some combination 
or new effect of their own. To demonstrate how 
really easy it is to evolve a new combination from 
most simple means and materials we will describe an 
illusion w4th cards which has been proved successful 
by hundreds of representations before thousands of 
spectators. 

The illusion is called "The Triangle," a title w^hich 
conveys to the mind many possibilities, but little in- 
formation as what is actually to be displayed. At 
the same time it is concise and trips easily off the 
tongue; therefore, it has all the qualities of a good 
title either for the magician's programme, or for 
his advertisements — a most important consideration. 
Furthermore, the spectators are apt to remember the 
feat afterwards, and speak of it by name, a distinction 
not easily obtained. 

We fancy that our readers are getting somewhat 
impatient with us. They wonder why we digress to 
write of this and that. We will tell them. When 
we undertook to write this book w^e determined to 
make it as helpful to the student and as illuminating 
to that portion of the public willing to read it as we 
possibly could. That is why! There are scores of 
text books giving descriptions of tricks and devices, 
good, bad and indifferent. There is a mine of in- 
formation before the would-be wizard. We hope to 
show him how to exploit this mine to the best ad- 
vantage. 

In Fig. I the appliances used for The Triangle 
are depicted. They are simply a pack of cards set 



THE TRIANGLE 



out on a blackboard, which is fitted with four small 
shelves, a few yards of broad ribbon of any colour the 
performer fancies, and a chair, on the seat of which 
is lying an ordinary oblong Japanese tray. 

We will now describe, as carefully as possible, 
the working details of what the performer does with 




Figure i. 



these everyday articles. We hope that after the stu- 
dent has read our description he will be in a position 
to copy the illusion exactly, but, unless the foregoing 
pages have been written in vain he will not, except, 
perhaps, as a matter of practice, do anything of the 
kind; rather will he set to work to evolve a very 
much more effective piece of magic, which shall be 
his own. 



282 



OUR MAGIC 



For the explanation of the secrets of The Triangle 
we shall adopt the plan of inserting a number at each 
point at which the conjurer has something to do not 
known to the audience. These numbers will be re- 
peated at the end of the chapter with full directions 
as to what he is to do. 

The performer commences by inviting a member 
of the audience to sit on the chair. When he is 
seated the conjurer calls this gentleman's attention to 
the 52 cards displayed on the board behind him and 
points out both to him and to the rest of the audience 
that there is no card missing; the pack is complete. 
Casually showing that his hands are empty the con- 
jurer gathers together the cards on the top row and 
then those on the row beneath. He drops them face 
downwards on the Japanese tray, which he holds in 
his left hand, having taken it from the chair to allow 
the visitor to sit down. 

To facilitate the taking up of the cards neatly the 
right hand edge of each card was placed just over 
the left hand edge of the one before it, so that by 
placing the fingers of his right hand under the card 
at the right hand end of the row and then running 
his hand along from right to left the conjurer picked 
up all the cards with one movement. 

Half the pack is now on the tray. The performer 
asks his assistant to take them off the tray, cut them, 
and turn the two packets thus formed face to face. 
Handing him the ribbon the conjurer asks his assist- 
ant to twist the centre part of it several times around 
the cards. The conjurer then offers the two ends of 
the ribbon to two ladies in the front row of the spec- 



THE TRIANGLE 283 



tators. One end should be given to a lady on the 
right and the other to a lady on the left, as in Fig. 2. 

Proceeding to explain that the experiment is called 
The Triangle the prestidigitateur asks his assistant 
if he minds being called The Apex. 

^^Here," says the conjurer, "we have what dramatic 




Figure 2. 



critics call the eternal triangle, which I am told 
forms the basis of most of the plays of the present 
day. It consists of two ladies and one gentleman, and 
very surprising are the plots which can be evolved 
from such a combination. The other half of the 
cards I will spread out on this tray." Suiting the 
action to the words the conjurer takes them from the 



284 



OUR MAGIC 



board, in the same way as the others, but spreads them 
all over the tray, face upwards (i). 

Advancing to the ladies who are holding the rib- 
bons the conjurer requests them to look at the twenty- 
six cards on the tray and think of anyone of them 
without indicating to him in any way what cards 
they decide upon. 

Here it is as well to point out that it is quite pos- 
sible that both ladies may fix upon the same card and 
also to impress upon the audience how impossible 
it is for anyone to know of which cards the ladies 
are thinking. It is quite impossible, says the con- 
jurer, for any man to know what a lady is going to 
do until she has done it, and he begs the ladies who 
are helping him to forego for this occasion that 
privilege of the fair sex and not to change their 
minds ! 

When both the ladies have indicated to the per- 
former that their choice is made he places the tray 
on the nearest convenient chair, or other object, and 
gathers together the cards in a packet which he 
squares up. In doing this he makes it very plain 
that he does not tamper with the cards in any way 
or use any sort of manipulation ; he simply picks up 
the cards in a natural manner. Having done this 
he asks the ladies, each in turn, to hold the pack for 
a moment in the same w^ay that the ribbon is held 
and to wish the cards they thought of to leave the 
rest of the packet (2). 

At this stage there is an opportunity for the per- 
former to prove for himself the wisdom of the 
maxim: ''Although no good conjurer leaves any- 



THE TRIANGLE 



285 



thing to chance he should take advantage of all 
opportunities." 

We will suppose that when the conjurer asked a 
lady to think of a card he also glanced at them and 
made his own guess as to which one she would select. 
We will say that the King of Clubs seemed to him — 
by reason, perhaps, of the way it lay among the others 
— the one most likely to be chosen, he might address 
the lady in the following way: 

"Will you please wish the card you have only 
thought of to leave the pack? Of course it is im- 
possible for me to know which card it is, but suppos- 
ing it is the King of Clubs, just wish it to go." 

If by a lucky chance the King of Clubs was the 
card the lady will almost surely admit the fact by 
some exclamation or movement of surprise, and the 
artist will appear to be a veritable thought-reader. 
We have often known this ruse to succeed but 
whether it does or not matters little. The conjurer 
continues in this strain : "Will you say King of 
Clubs go away, come again another day, or words 
to that effect? Of course I mean you to say them 
to yourself. I do not wish to incite you to give a 
recitation." 

The second lady is asked to wish her card to go 
in the same way whilst she is holding the half pack 
near the ribbon. 

The wizard explains that if the experiment has 
succeeded the two cards that the ladies only thought 
of will now have left the pack he is holding. Hand- 
ing another person the tray the conjurer asks him 
to act as scrutineer, and now for the first time he 



286 



OUR MAGIC 



asks the ladies of what cards they thought. We will 
presume that the cards were the King of Clubs and 
the Four of Hearts. 

"Very w^ell," says the performer, "I w^ill deal all 
the cards I hold before this gentleman and if he or 
those seated near him see either of those cards among 
the named will they please say so?" 

From the moment that he asked for the names of 
the cards the conjurer has been particular to hold 
the cards in such a way that all present are convinced 
that he is not tampering with them in any way. He 
now deals them very slowly and deliberately, one by 
one, face upwards on the tray and those w^atching 
bear witness that neither the King of Clubs nor the 
Four of Hearts is among them (3) . 

"You hear, ladies and gentlemen," the conjurer 
continues, "the clever cards have gone; the inference 
is that they are not here. As a matter of fact when 
the ladies wished them to depart they travelled in- 
visibly along these ribbons and will now be found 
in the hands of the Apex." 

Having by this time picked up the cards in his left 
hand and the tray in his right our necromancer now 
approaches the gentleman w^ho has been so patiently 
holding the other half of the pack and, placing the 
tray upon his knees (4) requests him to unwind the 
ribbon from the cards and deal them on the tray 
for the purpose of finding the King of Clubs and 
the Four of Hearts. 

Of course the two cards in question are found and 
exhibited and the gentleman is bowed off, although, 
before he leaves, if he evinces any desire to examine 



THE TRIANGLE 



287 



the whole pack, now lying on the tray, he is at liberty 
to do so (5). 

Gathering up the ribbons the conjurer may remark 
that doubtless the experiment has been successful be- 
cause the ladies wished, for when ladies wish a thing 
to be done it usually is done. 

If all this has been carried out with the confidence 
and ease essential to good conjuring the audience will 
be puzzled, entertained, and surprised, and they 
would be still more surprised to know by what simple 
means their senses had been deceived. But then, 
so would the invalid often be astonished to know 
what very simple things really cured him when those 
things were administered properly and prescribed 
with the judgment of the expert. 

The experienced conjurer knows that the secret of 
any good practical illusion is simple, and he admires 
it accordingly. It is only the novice who scoffs at 
simplicity and hankers after complexities, because he 
does not realise the amount of work that has to be 
done to attain what he is apt to treat with contempt' 
as being too simple. Dear amateur, the bicycle is 
a simple machine, as it is now. But glance back at 
the history of its evolution, and consider! So it is 
with a good illusion. 

TRICK OR DEVICE. 

Double faced cards. Half of the pack, namely, 
the twenty-six cards forming the two lower rows on 
the board are backed with duplicates of the other 
twenty-six which form the upper rows. 



288 



OUR MAGIC 



PREPARATION. 

Take a whole pack of thin cards and neatly paste 
them back to back. Place thenn on the two lower 
shelves. Take a second pack and select from it the 
twenty-six cards requisite to complete the display on 
the board. It will be seen that they must be dupli- 
cates of the backs of the prepared cards. 

The other half of the ordinary pack is put in the 
pocket Marked (E) in the diagram of a conjurer's 
dress coat on page 310. 

INSTRUCTIONS. 

(1) During the passage of his hand from the 
board to the tray the conjurer turns each row of cards 
over so that the backs are face up when laid on 
the tray. 

(2) When he squares them up he turns them over 
again and presents one end of the pack only to each 
lady to hold. He grasps the other end with his 
finger and thumb and also keeps them low down so 
that no one near catches a glimpse of the under side. 

(3) Again keep the cards low down, so that only 
one side of each is seen, and for the same reason the 
persons asked to assist should all be seated in the 
front row. 

(4) The performer has the gentleman on his 
right. When about to place the tray on the gentle- 
man's knees with his right hand he drops his left 
hand to his side, drops the prepared cards into pocket 
(G) as the gentleman is approached, and takes the 
half pack out of the pocket (E) when bending the 
body in the act of depositing the tray. 



INDEX OF CARD TRICKS 289 



(5) The unprepared half pack is thrown on the 
tray when the gentleman has found the chosen cards. 

BIBLIOGRAPHICAL INDEX OF CARD 
TRICKS 

card sleights 

The Pass. 

The Double-handed Pass. New Era Card Tricks, p. 
7- 

The Double-handed Pass, Hermann's. New Era Card 
Tricks, pp. 26, 10. 

The Double-handed Pass, Morritt's. Stanyon's New 
Card Tricks, Vol. 2, p. 5. 

The Double-handed Pass, C. O. Williams. Modern 
Card Manipulation, p. 28. 
The Single-handed Pass. 

The Charlier Pass. New Era Card Tricks, p. 13. 

The Charlier Pass, a la Bertram. The Modern Con- 
jurer, p. 38. 

The Erdnase Shift. The Expert at the Card Table, 
p. 99- 

Force and Pass Combined. Mahatma, Vol. 5, p. 89. 
To neutralize the cut without using the Pass. Card 

Sharping Exposed, pp. 191, 193. 
Card Sleights {and Tricks therewith) , 

The Mexican Turn-Over. The Expert at the Card 

Table, pp. 22, 122, 158. 
A Marvellous Coincidence. New Era Card Tricks, 

p. 158. 

Three Card Trick (De Manche). The Modern Con- 
jurer, p. 107. 

Three Card Trick. An Addition. Mahatma, Vol. 
7, p. 68. 



290 



OUR MAGIC 



The Back or Reverse Palm {and Tricks therewith). 
Cards placed in two hats change places. Magic, Vol. 
3> P- 3-. 

Trick with six cards. Mahatnia, Vol. 3, p. 122. 
New Multiplying Cards. Mahatma, Vol. 4, p. 24. 
Change by means of back hand palm. Mahatma, Vol. 

4, pp. 20, 88. Vol. 5, p. 16. 
A new move. Mahatma. Vol. 5, p. 20. 
Concluding surprise. Mahatma,, Vol. 5, pp. 54, 64. 
Card Catching by means of back palm. Mahatma, 

Vol. 5, p. 81. 
To vanish the pack. Mahatma, Vol. 5, p. 89. 
Card Manipulation. Modern Card Manipulation, 

Manipulation of Ten Cards. Sphinx, Vol. 3, p. 10. 
The Journeying Card. Sphinx, Vol. 3, p. 52. 

How to Give a Conjuring Entertainment, p. 11. 

Expert at Card Table, p. 145. 

New Era Card Tricks, p. 32. 

Modern Conjuring, pp. 46—50, 97-101. 

Thurston's Book, pp. 21-39. 

Magician's Handbook, p. 119. 

Stanyon's New Card Tricks, Vol. i, pp. 8-10. 

Tricks of C, de Lion, pp. 5,6. 

Magic, Vol. I, pp. 23, 56. Vol. 3, pp. 59, 91. 

Mahatma, Vol. 4, pp. 58, 67, 75, 85, 94. Vol. 5, 
pp. 14, 83, 89. Vol. 6, p. 15. 

The Palm Proper. 

New Era Card Tricks, p. 29. 
Buatier Palm. New Era Card Tricks, p. 31. Med- 

rington, p. i. 
Top Palm. Expert at Card Table, p. 144. 
Bottom Palm (in left hand). Expert at Card Table, 
p. 137- 



INDEX OF CARD TRICKS 291 



Maintaining Bottom Palm while dealing. Expert at 

Card Table, p. 93. 
Palming from Bottom of Pack. Modern Conjuring, 

P- 45- 

Palming. Modern Conjuring, pp. 40-45. 
Palm Hold-Out. London Magazine, May, 1903, 
P- 435- 

Change Over Palm. St any on' s New Card Tricks, 
Vol. I. 

Palming. Stanyon's Conjuring with Cards, p. 10. 
De Lion's Pass Palm. Stanyon's Original Tricks of C. 

de Lion, p. 3. 
Hal Merton's Pass Palm. Mahatma, Vol. 5, pp. 13, 51. 
Palming Cards with fingers open. Magic, Vol. 3, 

p. 75- 

New Palm. Mahatma, Vol. 5, p. 82. 
Replacing card or cards. Expert at Card Table, 
p. 113. 

New instantaneous front palm and tricks therewith. 
Mahatma, Vol. 8, p. 42. 

To Change a Card. 

New Era Card Tricks, pp. 17-22, 27, 148, 162. 
Thurston' s Card Tricks, p. 19. 
Mahatma, Vol. 4, p. 95. 
Stanyon's Conjuring with Cards, p. 7. 
Expert at the Card Table^ pp. 147-159. 
Modern Conjurer, p. 57. 
Goldston's Secrets of Magic, p. 14. 
Change made in replacing card in pack. New Era 

Card Tricks, p. 87. 
Vice Versa. A good trick dependent on the change. 

New Era Card Tricks, p. 185. 
The Mysterious Hat. A good trick dependent on the 
change. New Era Card Tricks, p. 190. 



292 



OUR MAGIC 



To Change the Pack. 

Thurston's Card Tricks, pp. 43, 45. 
Magic, Vol. 2, p. 75. Vol. 3, p. 19. 
Card Sharping Exposed, pp. 205, 262. 

The Colour Change. 

New Era Card Tricks, pp. 24-29. 
Modern Conjurer, p. 62. 
Addition by means of faked card. Magic, Vol. 4, 
p. 34. 

By Charlier pass made under cover of right hand. 
Sphinx, Vol. 3, p. 138. 

To Force a Card. 

New Era Card Tricks, "p, 16. 
Modern Conjurer, p. 55. 
Stanyon's Conjuring with Cards, p. 6. 
Magic, Vols. I, 2 (Hoffmann method), p. 83. 
New method of forcing three cards. New Era Card 

Tricks, p. 176. 
Another method. Magic, Vol. i, p. 83. 
New method of forcing by turning over pack. New 
Era Card Tricks, p. 176. 

To Force the Thought of a Card. 
New Era Card Tricks, pp. 34-37. 
Magic, Vol. 3j P- 31- 
Expert at Card Table, p. 165. 

False Shuffles ( To keep whole pack in prearranged 
order) . 

New Era Card Tricks, pp. 44-46. 
Modern Conjurer, p. 53. 
Stanyon's New Card Tricks, Vol. i, pp. 4, 5. 
Stanyon's Conjuring with Cards, p. 13. 
Sharps and Flats, p. 131. 



INDEX OF CARD TRICKS 



False Riffle. Sharps and Flats, p. 138. 
To leave order of pack undisturbed. Expert at Card 
Table, p. 159. 

"Arranging" Shuffles. {Stocking the cards.) 
Sharps and Flats, pp. 133, 144. 
Position for overhand shuffle. Expert at Card Table, 
p. 28. 

To retain top stock. Expert at Card Table, pp. 30, 

To retain bottom stock. Expert at Card Table, p. 32. 
Blind Riffle to retain top stock. Expert at Card Table, 
P- 34. 

Blind Riffle to retain bottom stock. Expert at Card 
Table, pp. 36, 39. 

False Shuffles {To keep certain cards in position). 
New Era Card Tricks, p. 46. 
Stanyon's Conjuring with Cards, pp. 12, 13. 
Sharps and Flats, p. 140. 
For securing a selected card. Expert at Card Table, 
p. 141. 

De Manche's Shuffles. Modern Conjurer, pp. 52, 53. 
Sleight for keeping two cards in view. Mahatma, Vol. 
5. P- 63. 

To GET Sight of a Card. 

New Era Card Tricks, pp. 37-40. 
Sharps and Flats, p. 121. 
Expert at Card Table, p. 168. 

The Bridge. 

New Era Card Tricks, p. 40. 
Sharps and Flats, pp. 129, 142. 



294 



OUR MAGIC 



The "Slide" or "Drawback." 
New Era Card Tricks, p. 42. 
Expert at Card Table, p. 168. 
Modern Conjurer, p. 60. 

False Cuts. 

Sharps and Flats, pp. 116, 123, 127, 128, 148. 
Blind Cuts. (Various.) Expert at Card Table ^ 
p. 46. 

The Crimp. Expert at Card Table, pp. 48, 113. 

Second Dealing. 

Golds ton's Secrets of Magic, p. 45. 
Expert at Card Table, p. 58. 
Modern Conjurer, p. 59. 
Sharps and Flats, p. 118. 
Tricks dependent on second dealing. Goldston's Se- 
crets of Magic, p. 44. 

Top and Bottom Dealing. 

Expert at Card Table, p. 52. 
Sharps and Flats, p. 116. 
Tricks dependent on bottom deal. Mahatma, Vol. 3, 
p. 9. 

The Revolution. 

New Era Card Tricks, p. 43. 

Card Throwing. 

Stanyon's Conjuring with Cards, p. 15. 
To make card thrown return to hand. New Era Card 
Tricks, p. 194. 

Card Balancing. 

New Era Card Tricks, p. 198. 

The Ruffle. 

Stanyon's Conjuring with Cards, p. 14 



INDEX OF CARD TRICKS 295 



Springing the Cards from Hand to Hand. 
Stanyon's Conjuring with Cards, p. 17. 
Bridge of Cards. New Era Card Tricks, p. 170. 
Bridge of Cards. Mahatma, Vol. 7, p. 137. 

Card Servantes. 

New Era Card Tricks, p. 149. 
Fan, for production of cards. Mahatma, Vol. 7, p. 

53. 

Diminishing Cards. 

Single diminishing card. New Era Card Tricks, pp. 
225, 226. 

Changing and diminishing card. New^ Era Card 

Tricks, p. 229. 
Changing and Enlarging card. New Era Card Tricks, 

p. 230. 

Various Methods. New' Era Card Tricks, pp. 270- 
278. 

Bertram's Method. The Modern Conjurer, p. 92. 

The Vanishing Pack. 

New Era Card Tricks, p. 269. 
Five Card vanished from tips of fingers. Sphinx, Vol. ' 
4, p. 6. 

Special Pockets for Cards {and tricks therewith). 
New Era Card Tricks, pp. 63-67. 

^'Walking Pip," and other changing cards. 

Pack of Cards showing four changes. New Era Card 

Tricks, p. 251. 
Various forms. New Era Card Tricks, pp. 220-225, 

230, 233, 243, 244, 246, 260. 
Card changing into flower. ,New Era Card Tricks, 

pp. 234, 236. ^ 
Card stencilled with vermilion. New Era Card 

Tricks, p. 254. 



296 



OUR MAGIC 



Card for Ink Trick. New Era Card Tricks, p. 256. 
Card changing to envelope and vice versa. New Era 

Card Tricks, p. 258. 
Quadruple changing card. New Era Card Tricks, 

p. 233. 

Cards with Missing Pips. New Era Card Tricks, 
p. 260. 

Card for passing through hat. New Era Card Tricks, 
p. 238. 

Envelope changed into chosen card. New Era Card 

Tricks, p. 258. 
The Re-united Card. New Era Card Tricks, p. 263. 

Marked Cards {and Card Marking appliances) . 

London Magazine, May, 1903. In Article on Race 

Course Swindles. 
Expert at the Card Table, p. 16. 
Sharps and Flats, pp. 26-59. 
Apparent Second Sight. New Era Card Tricks, p. 76. 
Card Sharping Exposed, pp. 228-235. 

Card Frames. 

Magic, Vol. 2, p. 34. 
The Sand Frame. New^ Era Card Tricks, p. 165. 
Robinson's Improved. New Era Card Tricks, p. 167. 

Hold-outs. 

Sharps and Flats, pp. 73-1 11. 
The Vest Hold-Out. Magic, Vol. 2, p. 42. 
Sleeve Hold-Out. Sharps and Flats, pp. 77, 94. 
The Bug. Sharps and Flats, p. 81. Expert at Card 

Table, p. 14. 
The Cuff Hold-Out. Sharps and Flats, p. 82. 
The Ring Hold-Out. Sharps and Flats, p. 87. 
The Vest Hold-Out. Sharps and Flats, p. 88. 



INDEX OF CARD TRICKS 



The "Kepplinger" Hold-Out. Sharps and Flats, 
p. 100. 

The "Take" Hold-Out. Sharps and Flats, p. 107. 
Card Targets {of various kinds). 
Magic, Vol. 2, p. 69. 
Card appearing on neck of unprepared bottle. New 

Era Card Tricks, pp. 112, 114, 116. 
Card fired against crown of hat. New Era Card 
Tricks, p. 80. 

Card fired against handkerchief. New Era Card 
Tricks, p. 89. 

Magic Orange Tree. New Era Card Tricks, p. 151. 
Three Cards attach themselves to mirror. New Era 
Card Tricks, p. 171. 
Card Changing, Vanishing, and Producing Appli- 
ances. 

The Lantern of Diogenes. New Era Card Tricks, p. 
73- 

Improved Card Table. New Era Card Tricks, p. 83. 
Card Boxes. New Era Card Tricks, pp. 138-143. 
Folding Cards. New Era Card Tricks, p. 247. 
Envelope, for the production or changing of 
cards, etc. 

Nest of Envelopes, each disclosing name of a chosen 
card. New Era Card Tricks, p. 100. 

Envelope for vanishing or changing card. Mahatma, 
Vol. 8, p. 41. 

C. O. Williams' Card and Envelope Trick. Sphinx, 

Vol. 3, p. 141. 
Another Card and Envelope Trick. Sphinx, Vol. 3, 

p. 153- 
Card Reading. 

Reading cards behind back. New Era Card Tricks, 
pp. 67, 71. 



298 



OUR MAGIC 



Elliott's Method. Mahatma, Vol. 3, p. 2. 
Apparent Second Sight. New Era Card Tricks, p. 76. 
Card Read in Envelope. Mahatma, Vol. 4, p. 40. 
Reading top cards of shuffled pack. Mahatma, Vol. 
5, p, 16. 

Reading cards In sealed envelopes. New Era Card 

Tricks, pp.^ 144, 145. 
Reading Cards in Spectator's pocket. New Era Card 

Tricks, p. 191. 

Card Mnemonics and Thought Readin<5, 
Magic, Vol. 3, pp. 19, 31. 
Sharps and Flats (counting down), p. 149. 
Magic vs. Mnemonics. New Era Card Tricks, p. 61. 
Mnemonics applied to cards. New Era Card Tricks, 
p. 177. 

Card Thought Reading. New Era Card Tricks, p. 85. 
All but one card of a pack being named to discover 

missing one. New Era Card Tricks, p. 155. 
Spirit Envelope. New Era Card Tricks, p. 173. 
Eight Chosen Cards Foretold. New Era Card Tricks, 

P- 135- 

New Card Ladle, for reading cards. Mahatma, Vol. 
2, p. 133- 

The Mysterious Remainder. Mahatma, Vol. 3, p. 
188. 

A Good Thought-reading Trick. Mahatma, Vol. 3, p. 
123. 

Another Good Method. Mahatma, Vol. 4, p. 102. 
Ne Plus Ultra. To pick out a number of selected 

cards. New Era Card Tricks, pp. 48, 57. 
To Discover at a glance the particular card removed. 

Magic, Vol. 5, pp. 27, 44. 
Card Thought of Produced in envelope. Miracles of 

Modern Magic, p. 19. 



INDEX OF CARD TRICKS 



MISCELLANEOUS CARD EFFECTS 

The Rising Cards (or floating cards) . 

Mahatma, Vol. 2, p. 121. 

Mahatma, Vol. 3, p. 57. 

Modern Conjurer^ p. 113. 

Sphinx^ Vol. 3, p. 112. 

Magic, Vol. I, pp. II, 35. 

Magic, Vol. 2, pp. 27, 35, 43. 

Magic, Vol. 3, p. 89. 

New Era Card Tricks, p. 209. 
Robinson's. Mahatma, Vol. 5, p. 44. 

Mahatma, Vol. 2, p. 61. 
Buatier's New Method. Magic, Vol. 4, pp. 55, 80, 
179. 

The Queen of the Air. Magic, Vol. 4, p. 4. 

iV^w Era Card Tricks, p. 69. 
To Produce any card in the pack. (Conradi). New 

Era Card Tricks, pp. 108, iii. 
Worked by horizontal thread. New Era Card Tricks, 
pp. Ill, 205. 
Modern Conjurer, p. 119. 
Cards jumping out of hat. New Era Card Tricks, p. 
181. 

Houlette a la Main. New Methods. New Era Card 

Tricks, p. 202. 
Excelsior Rising Cards. With mechanical Table. 

New Era Card Tricks, pp. 108, 207. 
Cards changing as they rise. New Era Card Tricks, 

pp. 211-217, 262. 
The Hand of Cagliostro. New Era Card Tricks, 

p. 217. 



300 



OUR MAGIC 



Mechanical Rising Pack. Mahatma, Vol. 6, p. 125. 
A La Thurston. Thurston's Book, p. 77, 

Mahatma, Vol. 8, p. 104. 

New Era Card Tricks,^. 205. 

Magic, Vol. 5, p. 71. 
Elliott's Method. Mahalma, Vol. 3, p. 123. 

Mahatma, Vol. 6. p. 97. 
Cards rising in original wrapper. Mahatma, Vol. 4, 
p. 14. 

With bamboo stick. Mahatma, Vol. 5, p. 105. 
Devant's Version. Magic Made Easy, p. 50. 
Sundry variations in rising cards. Magic, Vol. 4, 
p. 88. 

The Blowing Houlette. Magic, Vol. 5, p. 36. 
Cards rising out of original wrapper. Sphinx, Vol. 3, 
p. 10. 

The Card that will come to the top. Modern Card 

Manipulation, p. 40. 
Drawn card made to vanish from pack. Magic, Vol. 

3> P- II- 

Production and vanish of cards with empty hands. 

Modern Card Manipulation, p. 52. 
The Three Card Trick. New Method. Modern 

Conjurer, p. 107. 
To bring a given number of cards into the middle one 

of three heaps. Mahatma, Vol. 2, p. 74. 
Elliott's Card Plates and Goblets. Mahatma, Vol. 3, 

p. 9. ^ 

The Mysteries of the Zodiac. New^ Era Card Tricks, 
p. 116. 

Ne Plus Ultra Trick. To pick out seven chosen cards. 

New Era Card Tricks, p. 48. 
Chosen card passing through handkerchief. New Era 

Card Tricks, p. 61. 



INDEX OF CARD TRICKS 



301 



The Lantern of Diogenes for producing card. New 

Era Card Tricks ^ p. 73. 
Drawn card made to appear under collar of drawer's 

coat. New Era Card Tricks, p. 78. 
The Dancing Card. New Era Card Tricks, pp. 92, 

146. 

Chosen card pierced by pins fired at the pack. New 

Era Card Tricks, p. 95. 
The missing ace found in performer's pocket. New 

Era Card Tricks, p. 133. 
The Card, Ring and Ribbon. New Era Card Tricks, 

p. 153. 

Handkerchief produced from card. New Era Card 

Tricks, p. 157. 
Multiplication trick. New Versions. New Era Card 

Tricks, p. 195. 
The Fountain of Cards. New Era Card Tricks, 

p. 200. 

Shooting feat. To cut the pip out of the ace of hearts. 

New Era Card Tricks, p. 249. 
The Card and Broken Mirror. New Era Card Tricks, 

p. 265. 

A trap for a troublesome spectator. Sphinx, Vol. 3, 
p. 112. 

Cards marked by means of a wafer. Mahatma, Vol. 
5. P- 91- 

New Ways of discovering chosen card. Magic, Vol. 
4, p. 20. 

The Sympathetic Cards. Card selected from one pack 
shown to be identical with one chosen from an- 
other. New Era Card Tricks, pp. 167-8-9. 

Predestination. New Era Card Tricks, p. 192. 

Ink poured into glass, yet cards rise clean. Mahatma, 
Vol 8, p. 18. 



302 



OUR MAGIC 



Upper half of pack laid on table, lifts and reveals 
drawn card. A^^^^; Era Card Tricks ^ p. 68. 

Two cards freely chosen, to make either rise first. 
Magic, Vol. 5, p. 44. 
Cards picked out Blindfold, and Clairvoyant 
Tricks. 

Bertram. Isn^t it Wonderful? p. 259. 

Expert at the Card Table, "p. 174. 
Mile. Patrice's Method. Modern Conjurer, p. 102. 

New^Era Card Tricks, p. 136. 
Ne Plus Ultra. New Era Card Tricks, pp. 48, 57. 
Torn Card Trick (or card destroyed and restored). 
Magic, Vol. I, p. 6. 
New Era Card Tricks, p. 75» 
Magic, Vol. 4, p. 105. 
New Form. Mahatma, Vol. 2, p. 4. 

Secrets of Magic, pp. 34, 43. 
The Halved Card. New Era Card Tricks, p. 130. 
The Phoenix. New Era Card Tricks, p. 132. 
Four Cards reproduced in four oranges. New Era 

Card Tricks, p. 151. 
Card cut in four pieces and restored. New Era Card 

Tricks, p. 263. 
Hal Merton's. Mahatma, Vol. 5, p. 24. 
Torn card on end of wand. Mahatma, Vol. 2, p. 85. 
Found in cigar. Mahatma, Vol. 2, p. 162. 
Hermann's Pocket Trick. 
Mahatma, Vol. 3, p. 82. 
See also "Rapid Transit." New Era Card Tricks, 
p. 151. 

Out of four drawn cards to place one in pocket which 
proves to be one selected by spectator. Sphinx, 
Vol. 3, p. 100. 

New "Card in Pocket" Trick. Medrington, p. 3. 



INDEX OF CARD TRICKS 



Card Sword, and Similar Tricks. 

Magic, Vol. 3, p. ii. 

Magic, Vol. 2, p. 93. 

New Era Card Tricks, p. 82. 
Cards caught in hand. Modern Conjurer, p. 69. 

Sphinx, Vol. 3, pp. 76, 77. 

Modern Card Manipulation, p. 41. 
Card caught in tambourine. Mahatma, Vol. 7, p. loi. 
Card caught on plate. New Era Card Tricks, p. 72. 
Four Cards caught at finger tips. New Era Card 

Tricks, p. 103. 
Cards caught on billiard cue. Medrington, p. 5. 

Four Ace Trick (or equivalents). 
Expert at Card Table, p. 172. 
A la Bertram. Modern Conjurer, p. 124. 
De Vere Version. Mahatma, Vol. 5, p. 2. 
J. C. Hilliard's version. Magic, Vol. 5, p. 63. 
An effective addition. Magic, Vol. 4, p. 94. 
Excelsior four ace trick. Medrington, p. 7. 

The Acrobatic Aces. 

With Knaves. Expert at Card Table, p. 191. 

Two OR more Cards Changing Places. 
Expert at Card Table, p. 177. 
Mahatma, Vol. i, p. 124. 
Aces and Kings in separate envelopes change places. 

Secrets of Magic, p. 7, 
Card passing from one sealed package to another. 

New Era Card Tricks, pp. 91, 185. 
Card on table changes place with one on pack. New 

Era Card Tricks, p. 148. 
Queens and Jacks change places under two plates. 
New Era Card Tricks, p. 160. 



304 



OUR MAGIC 



Chosen cards leave pack and pass into hat New Era 

Card Tricks, p. 190. 
Houdin's "Mene Tekel, Upharsim." New Era Card 

Tricks, p. 195. 
Card change in glass on table. Mahatma, Vol. 4, 

P- 14. 

Four Cards change places with four in tied-up pack. 
Mahatma, Vol. 6, p. 57. 

Cards in two different envelopes change places. 
Magic, Vol. 4, p. 34. 
New Era Card Tricks, pp. 91, 143. 

Card threaded on ribbon changed to another, and it- 
self found in envelope. New Era Card Tricks, 
p. 106. 

Chapelet Tricks, and Tricks Dependent on 
Arithmetical Principles. 
Expert at Card Table, p. 179. 
New Era Card Tricks, p. 41. 
Card read behind back. New Era Card Tricks, p. 67. 
Ne Plus Ultra. New Era Card Tricks, p. 48. 
Cards read in a spectator's pocket. New Era Card 
Tricks, p. 191. 
Cards X la Manche. 

Expert at Card Table, p. 185. 
Bertram's Method. Modern Conjurer, p. 83. 
Finish by passing cards into trousers pocket, just shown 

empty. Magic, Vol. 4, p. 20. 
Six cards counted from hand as seven. Magic, Vol. 
4, p. 20. 

Suggested new finish. Mahatma, Vol. 8, p. 41. 
Discovering Chosen Card, and Reproduction in 
Various Ways. 
Telegraphing by manipulation of cigar. Secrets of 
Magic, p. 7. 



INDEX OF CARD TRICKS 305 



Clairvoyance Mysterieuse. New Era Card Tricks, 
pp. 167-170. 

Drawn Card extracted from wrapped-up pack. Ma- 

hatma, Vol. 6, p. 127. 
To name cut cards of a new pack. Modern Conjurer, 

p. 67. 

Chosen Card caught on a plate. New Era Card 
Tricks, p. 72. 

Chosen Card passed through plate. Sphinx, Vol. 3, 
p. 142. 

Chosen Card found under coat collar of drawer. New 

Era Card Tricks, p. 78. 
Chosen Card made to adhere to hand mirror. New 

Era Card Tricks, p. 171. 
Chosen Card found at chosen number. New Era 

Card Tricks, p. 102. 
Chosen Card passed into spectator's pocket. New Era 

Card Tricks, p. 151. 
Chosen Card passed through hat. New Era Card 

Tricks, p. 238. 
Chosen Card passed into sealed envelope. Mahatma, 

Vol. 2, pp. 70, 94. 
Mahatma, Vol. 3, p. 2. 
Mahatma, Vol. 4, p. 95. 
Chosen Card passed into covered glass. Modern 

Card Manipulation, p. 47. 
Chosen Card produced at bottom of selected heap. 

Modern Card Manipulation, p. 43. 
Chosen Card produced from performer's own pocket. 

Modern Card Manipidation, p. 46. 
Pack wrapped in paper, knife inserted through paper, 

divides two chosen cards. Sphinx, Vol. 3, p. 64. 
Cards dropped into hat drawn through crown. Sphinx, 

Vol. 3, p. 64. 



3o6 



OUR MAGIC 



Card thought of produced on back of performer. 

Sphinx, Vol. 3, p. 150. 
Two cards, freely chosen, produced top and bottom of 

two out of three heaps chosen by spectators. 

Magic, Vol. 5, p. 35. 
Chosen Card shaken out of handkerchief. Magician, 

Vol. I, p. 52. 
To balance cards on hand. Magic, Vol. i, p. 43. 
The "Piano" Card Trick. Magic, Vol. 2, p. 82. 
New Disappearing Card. Magic, Vol. 3, p. 10. 
The Travelling Ace. Magic, Vol. 3, p. 30. 
One Chosen Card Finding Another. Magic, Vol. 3, 

P- 31- 

Cards changed to photos of selected statesmen. Se- 
crets of Magic, p. 51. 

A thought-reading trick. Expert at Card Table, p. 
194. 

Card drawn through handkerchief. Expert at Card 

Table, p. 198. 
New Era Card Tricks, p. 57. 
Modern Conjurer, p. 73. 
Selected pairs produced at top and bottom. Expert at 

Card Table, p. 200. 
The Hypnotised Card. New Era Card Tricks, p. 68. 
A Dancing Card. New Era Card Tricks, p. 92. 
Card balanced on hat. New Era Card Tricks, p. 146. 
Names of half a dozen drawn cards found in envelope. 

New Era Card Tricks, p. 100. 
Four drawn cards caught, two in each hand, from pack 

thrown in air. New Era Card Tricks, p. 103. 
Card changed though threaded on ribbon. New Era 

Card Tricks, p. 106. 
Ace of diamonds made to vanish from pack. New 

Era Card Tricks, p. 134. 



INDEX OF CARD TRICKS 307 



A Striking divination trick. New Era Card Tricks, 
P- 135- 

Cards noted made to vanish from pack. New Era 
Card Tricks, p. 143. 

Reading cards in sealed envelopes. New Era Card 
Tricks, pp. 144, 145. 

Cards made to pass from one person's pocket to an- 
other. Mile. Patrice. Modern Conjurer, p. 133. 

Card, Ring, and Ribbon. New Era Card Tricks, 

P- 153- 

Three cards thought of written down by performer 

and, after removal, made to return to pack. 

New Era Card Tricks, p. 155. 
Everybody's Card. New Version. New Era Card 

Tricks, p. 162. 
Name of chosen cards found in suspended envelope. 

New Era Card Tricks, p. 173. 
Audacity card trick. Seven of clubs and eight of 

spades accepted as reverse cards. New Era Card 

Tricks, p. 182. 
A Chain of Cards. New Era Card Tricks, p. 186. 
Predestination Trick. New Era Card Tricks, p. 192. 
The Fountain of cards. New Era Card Tricks', 

p. 200. 

Card passed through hat. Modern Card Manipula- 
tion, p. 58. 

Shooting feat. To hit the ace of hearts. New Era 

Card Tricks, p. 249. 
Shooting feat. To hit the ace of hearts. Robinson's. 

Mahatma, Vol. 2, p. 61. 
The Card and Broken Mirror. New Era Card Tricks, 

p. 265. 

Pack of Cards changed to flowers. Mahatma, Vol. 4, 
p. II. 



3o8 



OUR MAGIC 



The Card Ladder. Mahatma, Vol. 5, p. 99. 
Cards made to turn over in pack. Magic, Vol. 4, pp. 
31. 47- 

Card vanishes in glass of water. Sphinx, Vol. 3, p. 
115- 

Missing card found on performer's back. Medring- 
ton, p. 2. 
Sphinx, Vol. 3, p. 151. 
Card production from pocket of spectator. Magic, 
Vol. 5, p. 47. 

Tricks Dependent on Audacity. 

Chosen cards instantly reproduced from freely shuffled 
pack. Magic, Vol. 4, p. 103. 
New Era Card Tricks, pp. 182, 183. 

Combined Coin and Card Tricks. 

Coins falling through cards into glass. Various 

methods. New Era Card Tricks, pp. 125-129. 
Single coin produced on face of card. New Era Card 

Tricks, p. 257. 
Vanished coin made to appear on edge of selected card. 
New Era Card Tricks, p. 267. 

To Produce Drawn Card at a Given Number in 
Pack. 

Elliott's method. Mahatma, Vol. 3, p. 107. 

To produce drawn card at desired number. New Era 

Card Tricks, p. 102. 
Card thought of found at chosen number. Expert at 

Card Table, p. 196. 
New Era Card Tricks, p. 85. 

To Bring Separated Cards Together in Pack. 
Magic, Vol. 3, p. 10. 
Expert at Card Table, p. 197. 
Sympathetic Queens. Secrets of Magic, p. 37. 



CHAPTER II 

WITH BILLIARD BALLS. MULTIPLICATION 

In reading over our last chapter we find that we have 
not impressed upon our readers the fact that broad 
effect is the quality most prominent in the experiment 
which was under discussion. To avoid over elabora- 
tion, to know when to leave off, is a valuable asset 
to any artist, especially to an artist in magic. 

In The Triangle one could just as easily have had 
a dozen cards thought of and ultimately found in 
the other half pack, as two. But nothing would have 
been gained by doing that; in fact, a cue would then 
have been offered to the audience as to the secret 
of the feat. On the other hand, to obtain the broad 
effect, the fact of thinking of two cards in the pack 
is made the most of. The artist, having chosen the 
right tones of colour, lays them on thickly and with 
a sure hand. No finicking movements are called 
for. Everything that is done is definite and appar- 
ently above board. No sleights with the cards to 
show off the dexterity of the performer are inter- 
polated ; in every way the picture as seen by the audi- 
ence is clearly outlined and easily remembered. 

In Billiard Balls we have a moderate sized object, 
dear to the heart of the manipulator. As with the 
cards, so with billiard balls. The manipulator finds 
the temptation strong upon him to linger lovingly 

309 



OUR MAGIC 



over sleights, passes, and palms galore, whilst losing 
sight of the ultimate effect on the mind of his audi- 
ence. We do not remember ever to have seen an il- 
lusion with billiard balls in which the effect was not 
blurred by this sort of thing instead of being made 
to stand out in relief like a clearly cut cameo. On 
being asked afterwards what the conjurer did with 
a billiard ball the spectator probably replied — "Oh, 
all sorts of things." 

Now, one does not wish to hear a criticism like 
that if one has been displaying a feat of magic; 
rather w^ould one hear a greatly exaggerated descrip- 
tion. At present, manipulation pure and simple will 
not carry a conjurer very far if he is using billiard 
balls and eggs. Let us suppose that a modern con- 
jurer was in the power of some cannibal savages and 
that his very life depended upon proving to them that 
he was a real magic man. Even the cleverest sleight 
of hand performer would stand a very poor chance 
of living if all he had with him was, say, half a 
dozen ivory billiard balls and the same number of 
eggs. He would not know one cumulative feat of 
magic with them simply because no genius has as yet 
invented one. But give the same conjurer twenty 
silver coins and a top hat and he would know what 
to do. The natives would be astounded to see him 
catching money from the air, picking coins from all 
sorts of places, and throwing them into the hat. 
Even if the savages were so happy as not to know 
what money was they would wonder at this medicine 
man who created those shining discs at his finger tips. 
If, instead of the money and the hat the conjurer 



MULTIPLICATION 



had three cups and a few cork balls of different sizes 
and three oranges or apples he might still convince 




Figure 3. 



his audience that he was a genuine magician because 
his play with these articles would have a plot — a 



312 



OUR MAGIC 



beginning, a middle, and an end. It would be a 
satisfactory effect. 

As a matter of fact, apart from playing cards 
there are very few complete feats of magic which are 
not dependent on some form of mechanical aid. We 
believe that The Cups and Balls and the Catching 
Money Trick are the oldest and best illusions that 
have ever been accomplished by pure sleight of hand, 
or manual dexterity, alone. But, back to our bil- 
liard balls and eggs. Given a little help in the 
shape of mechanical devices the modern magician 
can make a very good showing with these objects. 

Disraeli said of description that "it was always a 
bore both to the describer and the describee." We 
will do our best to curtail our description of Multi- 
plication, but we feel bound to give our readers every 
possible detail that may help them. We believe that 
the shortest way in the case of the deception which 
is the subject of this chapter will be to describe first 
the illusion exactly as it ought to appear to the audi- 
ence, and then follow that with the plan which we 
used in the last chapter for imparting the secrets. 

Imagine, then, the conjurer commencing by com- 
ing forward to the audience with nothing in his hands 
and asking permission to pluck a billiard ball from 
a gentleman's beard, preferably a snow white beard. 
After indicating to those near just where the ball is 
nesting he reaches forward with his right hand, just 
touches the beard with his fingers, and sure enough 
a red billiard ball is produced. On the stage, or 
part of the room which forms the stage, is a table. 
The table is on the prompt side, that is to say, on the 



MULTIPLICATION 313 



right hand side as seen from the auditorium. The 
conjurer goes up to the table and drops the billiard 
ball on a plate which is lying there in readiness (i). 

Everyone can hear that the billiard ball is a solid 
one. It is, in fact, an ivory ball. To use wood or 
other imitation substances detracts much from the 
experiment. When the balls are knocked together 
one hears that little click peculiar to real billiard 
balls. This convinces the audience that the balls are 
heavy and consequently difficult to manage, which 
they usually are. But the effect of using ivory balls 
well repays one for the extra work required in prac- 
ticing the manipulations. 

'T am very glad you brought a white beard," con- 
tinues the conjurer, "because you see I have a red 
ball. Now, from a red beard I usually get a white 
ball, but it is really all the same to me. You observe 
that this ball is distinctly red. I have only to pass 
my right hand lightly over it and it becomes a white 
one. I will tell you how that is done. I use two. 
The red one is hidden behind the white." On say? 
ing this the conjurer, with the fingers of his right 
hand, takes a red ball from behind the white, 
which is between the finger and thumb of his left 
hand {2). 

"I will explain how a conjurer can pocket the 
white." Here he picks up the white ball which he 
had dropped with the other on the plate. "Look! 
I throw this into the air and it seems to disappear. 
In reality it has dropped into this little pocket be- 
hind my right knee." 

Apparently he throws it up into the air and it 



314 



OUR MAGIC 



vanishes; immediately afterwards, he reproduces it 
from behind his right knee (3). 

"I am covered with secret pockets. I had nine 
tailors to make that one." Saying this he transfers 
the ball to his left hand. ^'There is another thing 
I can do with a billiard ball. I can cause it to mul- 
tiply. I simply touch this one and it becomes two, 
each quite solid." Again he drops them on the plate. 

^'That is quite easy with two hands, but it is much 
more difficult with one hand only. If the ladies will 
excuse me I will roll up one of my sleeves, and show 
you what I mean." He pulls his right coat sleeve 
over his elbow, and rolls up his shirt sleeve over it, 
and picking up one of the white balls and rapping 
it on the table top to prove again its solidity he holds 
it in the position shown in Fig. 4 and is ready to 
commence the most important part of the experi- 
ment. 

It will be noticed that if the body be twisted to 
the left w^ithout altering the position of the hand 
holding the ball the performer wdll naturally show 
both sides of the hand as well as the ball and it will 
be obvious that nothing but the ball is in the hand. 
When a second ball appears suddenly beside it (4) 
whilst the conjurer holds his hand thus outstretched, 
the full length of his arm from his body, and when 
the conjurer further proves that they are both solid 
ivory balls by knocking them together (5) then in- 
deed we have a surprise which savours of real magic. 

A rule laid down by Professor Hoffmann and in- 
sisted on by most other writers is to the efifect that 
no feat of magic should be repeated at the same per- 



MULTIPLICATION 315 



formance. But, as pointed out in the first part of 
this book, that rule does not apply to an effect like 
the present. If it is wonderful to see one ball pro- 
duced, it is more wonderful to see two balls, and then 
three. The fourth is considered more wonderful 
still, but were there a weak point in the trick of 




Figure 4. 

obtaining these balls or any suspiciously unnatural 
movement used, then it would not bear the repeti- 
tion which, as it is, forms the perplexing part of this 
feat. Our conjurer, having proved the two balls 
solid stretches out the hand containing them, holding 
one ball between the thumb and first finger and the 
other between the second and third fingers (6). 
Again he describes a half circle with his arm, show- 



3i6 



OUR MAGIC 



ing all sides of both hand and balls, and again a new 
ball appears from nowhere (7). 

The inexplicable thing about this is that the balls 
are solid ivory, which fact the conjurer takes care 
to impress upon the onlookers by taking one of the 
three with his disengaged hand and rattling it on 
the other two (8). Having done this the three are 
shown as before. Slowly the hand is turned in every 
direction; only three balls can be seen. Again that 
slight shake of the one hand, and once more a ball 
mysteriously joins those already there (9). There 
are now four balls between the five fingers of the 
hand. The hand can hold no more. The balls are 
dropped on the plate, one at a time, to show again 
that they are solid ivory (10). 

It must be remembered that we are taking these 
examples of magic from an actual, existing reper- 
toire, and therefore although the billiard ball feat 
is now virtually over there is still a second phase of 
the experiment to describe in which eggs are used. 
The conjurer continues: — 

''There is still another little thing I can do with a 
billiard ball. I can transform a billiard ball into 
anything that I happen to want. Suppose I want 
a mutton chop or a footbath. All I have to do is 
to pass my hand lightly over a billiard ball and I 
get what I require which in this case is an egg " (11). 

Here the transformation is effected in exactly the 
same way as the former change from the red ball to 
the white. In this case it is also as well to use the 
red ball for the sake of the contrast in colour. It 
will be found that white balls can be seen by an audi- 



MULTIPLICATION 317 



ence much better than red ones and that is why white 
is chosen for the principal efifect we have described. 

Having got the egg the billiard ball is produced 
from the back of the hand (12) and thrown on the 
plate with the others. Sundry movements are exe- 
cuted with the egg — in dumb show, of course. Dur- 
ing the production of the billiard balls the conjurer 
has been talking. We have only indicated the patter 
actually used here and there, because we cannot com- 
municate the manner of speaking along with the 
words. The style of delivery cannot be taught here. 
For instance, one of the little jokes of the original 
performer was to say, "You notice, ladies and gentle- 
men, that my hand never leaves the end of my arm." 
This looks inane in type, but said in a certain man- 
ner it always elicited a laugh. 

Placing the egg on the left hand the conjurer 
makes it vanish and reproduces it from the elbow 
(13). It is then put into the mouth, swallowed, and 
reproduced from underneath the edge of the waist- 
coat (14). Again it is placed between the lips,- 
swallowed, and found behind the right ear (15). 
Once more it is put into the mouth, and rediscovered 
in the right hand waistcoat pocket (16) and then 
taken in the left hand and passed from the left side 
of the left knee to the opposite side of the right knee. 
The effect in this case ought to be as though there 
were tube through which the egg is thrown. It goes 
in at one end and is met by the other hand on emer- 
ging at the other (17). It is passed through the 
body in the same way. The performer puts the egg 
in the left hand, smacks himself on the back, and 



3i8 



OUR MAGIC 



meets the egg at about the top button of the waist- 
coat (i8). Now, as a variant, he drops it into his 
left sleeve from the left hand, and to all appearances 
it travels across his back and visibly rolls out of his 
right sleeve (19). Lastly he bangs the top of his 

head with the 
left hand in 
which he has 
once more de- 
posited the egg, 
and this harle- 
quin of a n egg 
appears between 
his lips. Re- 
ceiving it i n the 
palm of his right 
hand (20) he 
places it in his 
left (21) and 
then seemingly 
to his own great 
astonishment an- 
other appears in 
his mouth. This 
he also meets 
with his right 
hand and trans- 



Figure 5. 



fers to his left (22). This is repeated thrice more, 
and thus four eggs have been produced from his 
mouth to the accompaniment — as rule — of hearty 
laughter from the whole audience. Fig. 5. 

The last part of the feat must be done delicately, 



MULTIPLICATION 319 

and with the light comedian's sense of humour, but 
these touches we cannot impart. We have described 
the illusion and it must be left to the student as to 
whether it suits his style. Done in the wrong way 
the production of eggs from the mouth would appear 
vulgar. Done in the right way it is simply amusing 
and an excellent finish to multiplication. 

TRICKS OR DEVICES. 

A shell of celluloid to represent half a white ball. 
It fits neatly, but not at all tightly over three of the 
five white balls used. The remaining two white balls 
are made a little larger than the others. One of them 
is so large that the shell fits over it fairly tightly, and 
the other is a little bigger, so that when the shell 
is pressed on to it the ball can be thrown about with- 
out dislodging the shell. 

The exact sizes of the balls before us are as fol- 
lows : — 

A. RED, 1% inches. B. WHITE, i 13-16 in- 
ches. C. WHITE, I 25-32. D. E. F. WHITE, 
ij4 inches. SHELL, 1% inches. Celluloid eggs. 
G. H. I. J. K. We will refer to the balls and eggs 
by these letters. 

A very useful device is the wire ball holder, made 
of one piece of brass wire twisted into the form seen 
in the picture of the apparatus, Fig. 6. Three of 
these are used, but more may be used if the per- 
former desires. 

Sleights, Two modes of concealing a ball or 
egg in the hand are used. The first is what is 
known as "palming," and consists of holding the 



320 



OUR MAGIC 



object between the ball of the thumb and that raised 
part of the palm on the opposite side of the hand. 




Figure 6. 



Fig. 7. The ball is held by a slight contraction of 
the muscles at the base of the thumb. To learn how 
to palm the ball in this way place the ball in the 

centre of the open 
hand, with all the fin- 
gers wide apart, and 
try to grip the ball by 
moving the whole 
length o f the thumb 
inwards without bend- 
ing any part o f it. 
After considerable 
practice it will be 
found that a small 
object can be held i n 
this way without moving any of the fingers to any 
appreciable extent, and the hand can be turned right 




Figure 7. 



MULTIPLICATION 321 

over and held in any position without danger of 
dropping the object. Fig. 8. 

The next thing to acquire is the power of using the 
fingers freely by handling other things, at the same 
time that the concealed object is "palmed." As con- 
cealment is the sole reason for this sleight it follows 
that the last and not the least important part of the 




Figure 8. 



practice must be devoted to drilling oneself into al- 
ways holding the hand in such a position that no one 
sees any part of the palmed article. 

Another and easier way of concealing the ball in 
the hand is used in this combination; we shall refer 
to it hereafter as the finger palm. 

The ball is held as in pictures 9 and 10, and the 
method is learnt in this way: Slightly bend the 
fingers of one hand and lay the ball in the hollow 



322 



OUR MAGIC 





Figure 9. 



thus formed. 
Fig. 9. Then 
bend the fingers 
just sufficiently 
t o grip the ball 
and turn the hand 
over afterwards. 
Fig. 10. Practice 
gripping the ball 
with the two mid- 
dle fingers leaving 
the other two free 
for such use as 
can b e made f 
them without disclosing the presence of the con- 
cealed ball. They can be stretched out but cannot 
be spread 
wide apart. 

There are 
also two 
"transfers" to 
practice. We 
will allude to 
them as the 
single trans- 
fer and the 
double trans- 
fer. To a c- 
quire the 
first, which 
is used to convey the ball from the finger palm to 
the palm proper of one hand it is necessary to bend 




Figure 10. 



MULTIPLICATION 



the two middle fingers inwards very quickly. This 
ought to be done without moving the other fingers. 
Try it first without the ball and when the tips of 
the middle fingers can be made to touch the ball of 
the thumb without much movement of the remaining 
fingers palm one of the balls and make the same 
movement, which will roll the ball very quickly into 
the right position for the palm proper. A pressure 
of the fingers must be made simultaneously with the 
grip of the receiving palm which holds the ball, 
leaving the fingers free to be stretched out again im- 
mediately. 

The ''double transfer" is easier when once the pu- 
pil has acquired facility in the other sleights. We 
use it to transfer a concealed ball from one hand to 
the other. It consists in finger palming with one 
hand and palming with the other. The palm of the 
receiving hand is brought over the ball, finger palmed 
in the other, or the fingers of the receiving hand are 
brought over the ball in the palm of the oppositjC 
hand. To do this the hands must be brought together 
on some excuse or other and in the first section of 
Figures ii, 12, 13, we have first the right hand tak- 
ing a visible ball from between the finger and thumb 
of the left hand and at the same time transferring a 
hidden ball from the palm of the right hand to the 
finger palm of the left. In the next picture the 
hands are seen together being taken across the body. 
In the last the movement is completed, and the 
hidden ball is finger palmed in the left hand, fiow 
back to the spectators, while the palm of the right 
is exposed. By repeating this movement one gets 



324 



OUR MAGIC 




Figure 12. 



MULTIPLICATION 325 



the efifect of showing both hands back and front 
without pointedly referring to them. The ostensi- 
ble reason for doing this is to display the visible bil- 
liard ball. 

^'Apparent transfers" are also sleights which are 
very important. We will attempt to describe those 
used in the illusion of ^'Multiplication." We will 




Figure 13. 



name the sleights for reference later as '^apparent 
transfer with palm," ^'apparent transfer with finger 
palm," ''apparent transfer with combination palm." 

By "apparent transfer" we mean the apparent tak- 
ing or placing of a ball in one of the hands while in 
reality it is retained by the other. 

APPARENT TRANSFER WITH PALM. 
The ball is held on the open palm of the right hand. 
The left hand is about to pick it up — as shown in the 
Figures 14, 15, but the fingers do not close over it 
although they appear to do so. In reality, as the 




Figure 15. 



MULTIPLICATION 



327 



hands are separated, the right is turned with the back 
to the audience to conceal the ball which is palmed 
while the fingers of the left are made to curl over 
an imaginary ball. 

APPARENT 
TRANSFER 
WITH FINGER 
PALM. The ball 
is held in the grip 
o f the fingers and 
the hand containing 
it is turned towards 
the open palm o f 
the other hand as though dropping the ball into it. 
But the fingers do not relax; they retain the ball 
while the fingers of the other hand curl over as 
though they had really received it. Just before 




Figure 16. 




Figure 17. 



OUR MAGIC 



making this transfer the ball can be thrown up and 
caught in the hollowed fingers, or dropped from a 
position between the finger and thumb and thence 
apparently tossed into the other hand. Figures i6, 
17. 

APPARENT TRANSFER BY COMBINA- 
TION PALM. In this the action of putting the 
ball into the opposite hand is simulated, whereas in 
the first transfer the ball was apparently taken by 
the receiving hand and in the second it was dropped 
into the receiving hand. 

The ball is held between finger and thumb of one 
hand and as the hand travels towards the other it is 

dropped into 
the fingQT palm 
position, thence 
transferred t o 
the palm 
proper, and 
the fingers o f 
both hands take 
part in a n imi- 
tation of giving 
and receiving 
the ball. Fig- 
ures 18, 19, 20. 

We hope that 
the pictures 
will help the 
student t o un- 
derstand t h e 
Figure 18. movements t h e 



MULTIPLICATION 



329 



explanation of which, in words, is very difficult. A 
looking glass will do more for the student than any 
written description. Once he understands the seq- 
uence of any given move let him try it before a 











i 


VP 







Figure k 



mirror, without the secret palms, and then, when he 
is quite familiar with the appearance of the real 
movement let him add the necessary hidden manipu- 
lations. If he finds that the real and the imitation 
appear natural and look alike then he will have 



330 



OUR MAGIC 



taught himself just how to use the subterfuge. Fur- 
ther, he will realise just how much difference there 
is between knowing what to do and how to do it, 

just where the sec- 
rets sink into insig- 
nificance compared 
t o the power o f 
acting. 

We do not ad- 
vise the use of the 
mirror except as a 
check on prelimi- 
nary crudities, be- 
cause one i s apt, 
after long practice 
before a glass, to 
depend too much 
upon its aid. 

PREPARATIONS. 

l^IGURE 20. 

The balls and eggs 
are disposed about the person in the following way. 
The holders are hung on to spring hooks sewn to the 
trousers in the position seen in the next picture, Fig- 
ure 21, and Balls D.E., and C White are put into 
them, D and E being nearest to the left hand of the 
performer. The eggs G.H.LJ., are placed under 
the waistcoat on the left hand side. 

Eggs I.K. are put one in the right waistcoat pocket 
one in coat pocket marked A. Balls A RED and 
B WHITE (with the shell on it) are placed in 
pocket E, A RED being nearest the left hand. The 




MULTIPLICATION 331 



remaining ball F WHITE is put under the waist- 
coat at about the centre. 

To hold the eggs 
and balls under the 
waistcoat with 
safety the waistcoat 
is prepared in t h e 
following way. It 
is first buttoned up 
and slit up the back 
seam. A tab with a 
large button a n d a 
buttonhole are 
placed behind the 
collar, a loop of 
elastic and a button 
in the middle of the 
back, and at the 
back of the waist 
line, as seen in t h e 
picture. 

The loop of elas- 
t i c accommodates 
itself to the trick by stretching as required, but if 
this is not thought sufficiently safe the wire holders 
may be sewn inside the waistcoat. 




Figure 21, 



INSTRUCTIONS. 

( I ) After showing the hands, let the left hand rest 
lightly on the lower edge of the waistcoat and 
press the ball F WHITE down with the thumb and 



332 



OUR xMAGIC 



''finger palm" it. Act as though you were about to 
take the ball from the beard with the empty right 
hand, and pull up right sleeve with the left hand. 
Then pull up the left sleeve with the right hand and, 
as the hands cross, execute the "double transfer." 
To produce the ball plunge the fingers into the beard 
or behind some other object and let the ball roll or 
drop quickly to the finger tips. Immediately after- 
wards bring it into view very slowly. When turn- 
ing to the table to drop the ball on the plate bring 
the left hand, which is hanging at the side, to pocket 
E, secure the ball RED A from there and "finger 
palm" it. 

(2) The ''double transfer" is executed once or 
twice finally leaving the red ball palmed in the right 
hand and the white ball bet^veen the finger and thumb 
of the left hand. The right hand is placed in front 
of the white ball and ''finger palms" it. The mo- 
ment the fingers grip it the finger and thumb of the 
left hand leave the white ball and grasp the red ball 
which has been brought by the palm of the right 
hand just underneath. The right hand is lowered 
away again taking the white ball with it and this is 
transferred from the fingers to the palm by the 
"single transfer," and the red ball is displayed. The 
"double transfer" is used, and the white ball is pro- 
duced from behind the red ball. 

(3) The single transfer is executed very smartly. 
Standing with the right side towards the audience the 
conjurer throws the ball a couple of feet high. It is 
caught by the "finger palm," and while the hand 
makes an upward motion as though throwing the 



MULTIPLICATION 



ball a second time, the single transfer is executed very 
smartly and the fingers are spread wide apart. 
While the ball is being produced from the right 
knee the conjurer, using the other hand, obtains B 
WHITE from pocket E and finger palms it. Now 
an apparent transfer by combination palm is made 
with F WHITE to the left hand, which discloses 
B WHITE at the same instant. Another "double 
transfer" i s made 
to show only one 
ball, and then F 
WHITE is pro- 
duced from be- 
hind B WHITE. 

(4) Loosen the 
ball i n t h e shell 
slightly with the 
fingers of one 
hand. Then hold 
both shell and 
ball by t h e first 
finger and thumb 
o f right hand i n 
such a way that the second finger can be brought 
down behind and underneath the ball. Lift the ball 
and roll it upwards so that it finally rests and is held 
between the upper part of the first finger and the 
lower side of the second finger. 

The illustrations [Figs. 22, 23, 24] show three 
phases of the movement as seen by the audience. 

(5) The other hand has secured D WHITE and 
"finger palmed" it, and as the performer takes the 




334 



OUR MAGIC 



newly produced ball from between the first and 
second fingers of his right hand with the finger and 




Figure 24. 

thumb of his left he neatly puts the hidden ball into 
the shell without any effort further than receiving 



MULTIPLICATION 335 



and holding it with the finger and thumb that holds 
the shell. 

(6) After knocking the solid balls together with- 
out disclosing the presence of the shell, which is now 
on D WHITE the conjurer places B WHITE be- 
tween the second and third fingers of the right hand. 

(7) The second finger is kept close to the first 
finger and eventually is slipped behind and under 
the ball in the shell and brings it into view as it did 
the last ball. The difficulty is greatly increased be- 
cause the movement of the second finger is hampered 
by the ball resting above it, which has to be held by 
the two fingers during the whole operation. 

(8) The conjurer obtains E WHITE and gets it 
into the empty shell as he did D, by taking the last 
produced ball away from the right hand for the pur- 
pose of rattling it against the other two. 

(9) When he replaces the ball he puts it between 
the third and little fingers of his right hand, leaving 
the space between the first and second fingers to be 
filled in the same way as before, but the difficulty is 
increased. 

(10) He has once more secured a ball — C 
WHITE — with the left hand, which carries it behind 
the shell under the pretext of taking the last produced 
ball away to drop it on the plate. C WHITE is 
the biggest ball, and it is pressed well into the shell, 
which half covers it. When the ball is dropped on 
the plate with the others it safely carries the shell 
with it. 

(11) Turning to the left the conjurer reaches 
across to the plate and picks up the red ball with his 



336 



OUR MAGIC 



right hand. Under cover of this movement the left 
hand goes to pocket A and finger palms the egg. 
The double transfer and change, are effected in the 
same way as with the red and white balls. 

(12) It is put behind the hand by the apparent 
transfer with combination palm done very quickly, 
and rolled back into view very slowly. 

(13) Apparent transfer with palm. 

( 14) Apparent transfer with combination palm. 

(15) The same. 

( 16) It is now really put into the mouth and held 
there while another egg is taken from pocket B. 

(17 and 18) The same as 14. 

(19) Apparent transfer with combination palm. 
While the left hand appears to be dropping an egg 
down the sleeve, the right hand fingers pull the right 
hand sleeve over the egg in the palm, so that the egg 
actually rolls out of the sleeve on its reappearance 
in public. 

(20) Apparent transfer with combination palm. 
The palm concealing the egg is brought right over 
the egg between the lips and under the cover thus 
given the egg in the mouth is drawn back again into 
the mouth and the concealed egg is held for a mo- 
ment by the lips and then dropped into the hand 
which was lowered the moment the second egg was 
in position. 

(21) Visibly and actually, but during the last 
movement the left hand has secured one of the eggs 
from under the vest and finger palmed it. This egg 
is transferred to the right hand when it places the 
visible egg in the left. 



MULTIPLICATION 337 



(22) The movements of 20 and 21 are repeated. 
The last egg to drop into the hand is, of course, the 
one which has been held in the mouth from move- 
ment 16. The particular egg used for this must be 
selected to fit the mouth comfortably, and may be a 
little smaller than the others. 



CHAPTER III 



WITH FIGURES. SIMPLE ADDITION 

We have chosen the subject for this chapter as a 
direct and striking contrast to the illusion dealt with 
in the last. 

In Multiplication we used a great number of de- 
vices dependent upon manual dexterity, and the audi- 
ence will undoubtedly give the performer credit for 
phenomenal cleverness with his hands especially if 
he understands how to present the feat with proper 
reserve and does not give way to over elaboration, as 
for instance, causing the balls to disappear again by 
the same device used for the production, and run- 
ning through the movements so quickly as to give the 
general effect of beads on a string being played with. 

We will presume that the conjurer has caught the 
spirit of our teaching, and makes each movement tell- 
ing and illusive. Even then, the spectators will feel 
instinctively that they are looking at a wonderful 
feat of manual dexterity, which is to them baffling 
and perplexing. 

Simple addition is of quite a different calibre. 
Here the spectators themselves take a great part in 
the preliminaries, and the impression made upon 
their minds is totally different. At the end of the 
feat they should be inclined to look upon the per- 
former as a person who deals in the supernatural. 

338 



SIMPLE ADDITION 339 



And yet the tricks used are absolutely simple and do 
not require the arduous practice necessary for sleight 
of hand. All the cleverness is concealed in the de- 
vices used for misdirection, and the result is an il- 
lusion which is superior to the best that can be at- 
tained to by the manipulator. Naturally, that is dis- 




FlGURE 25. 



appointing to the man who has spent hours practic- 
ing sleights. He finds it hard to believe that some 
of the best and most striking feats of magic are inde- 
pendent of manual dexterity, and he is slow to admit 
the beauty of their simplicity. In short, he fails to 
grasp the fact that sleight of hand only comprises 
some of the means used to produce an illusion. 
In Fig. 25 the performer is seen advancing to 



340 



OUR MAGIC 



the audience with a number of cards, on each of 
which is printed a large figure. There are twenty 
of them — two sets of figures from one to nought. 
He also holds a skeleton wooden case which is meant 
to contain them. Behind him is seen a table (any 
ordinary table answers the purpose) and above the 
table are hanging two lengths of chain terminating in 
hooks, hooked together. On the table is lying a 
Japanese tray (i) a lighted candle in a candle- 
stick, and on the top of some loose sheets of paper an 
ordinary looking school slate (2). 

The chains may be suspended from anything handy 
as long as they hang in the position indicated 
(3), and if chains are not available, lengths of cord 
will answer the purpose just as well. 

Handing the cards to one of the spectators and 
the case to another, the conjurers ask them to examine 
them, to see that there is no hidden mechanism in 
the case, and that the cards are ordinary cards. He 
tells the gentleman who takes the cards that he may 
mix them up, but requests him not to turn them up- 
side down or face to face. 

While the frame and cards are being scrutinised 
the performer requests the loan of a handkerchief 
which he takes and throws on the table. From the 
table he picks up the slate (4). 

Showing both sides of the slate which, if he thinks 
necessary he may rub with his fingers or clean with 
a damp sponge, the conjurer says : — 

'T am also going to use this slate. You observe 
there is no writing upon it, but as it is sometimes 
suspected that I have another slate concealed about 



SIMPLE ADDITION 341 



me I propose to mark this one. Will one of the 
ladies suggest which letter of the alphabet I shall 
write upon the slate?" Someone suggests B. "Very 
well, we will put B on this side. You see there is 
nothing on this side. Now I will wrap the slate in 
this borrowed handkerchief." 

He picks up the handkerchief from the table with 
the left hand holding the slate in the right hand with 
the blank side facing the audience. Finding he can- 
not spread out the handkerchief with one hand he 
throws the slate on the table, marked side upwards, 
and lays the top edge of the handkerchief along his 
right forearm. Then, picking up the slate (5), 
and keeping the marked side towards the audi- 
ence he holds it in front of the handkerchief and al- 
lows the top edge of the handkerchief to fall over 
the edge of the slate and wraps the handkerchief 
round the slate as well as the size of the handkerchief 
will allow. While this is being done he continues 
speaking: — 

''These experiments are very much more in- 
teresting when ladies take some part in them. 
Will one of the ladies be good enough to take charge 
of this slate? Simply let it rest on your lap and do 
not allow it to be touched." 

Giving the covered slate to one of the ladies the 
conjurer now collects the cards and the case and asks 
the persons who have been holding them what the 
result of their examination is. They can only reply 
that they have discovered nothing out of the ordinary. 
''That's what I mean," says the conjurer. "There is 
no mechanism that you can see." (6). Taking 



342 



OUR MAGIC 



the articles up to the table he calls attention to the 
two chains by pointing at them with the packet of 
cards, so that the audience notices the figure which 
happens to be on the top. He then drops the cards 
face upwards on the Japanese tray and stands the 
case on the top of them. This is necessary because 
otherwise the conjurer's hands would not be free to 
unhook the chains, one from the other. Having done 
that, he immediately hooks the case on to them, and 
then picks up the cards, squares them up, and grasp- 
ing them by the top edge, with the figure facing the 
audience he slides them into the case, helping the 
operation by holding the swinging case with the left 
hand and tilting it to a convenient angle for the in- 
sertion of the cards (7). 

"I hope," he remarks apologetically, '^that you are 
not getting bored with these preparations. There 
is not much more to do. The only other appliances 
I shall use are this small slip of writing paper, a 
playing card to act as a sort of temporary writing 
desk, and a piece of pencil to write with." 

Here he takes these articles from his waistcoat 
pocket and displays them one by one and then, lay- 
ing the paper on the card, he advances towards the 
auditorium and continues: — (8). 

"I want three persons — any three persons — to be 
kind enough to write three figures each on this paper. 
Perhaps, you, sir, will be good enough to write three 
single figures in a row across the paper." The card 
with the paper on it and the pencil are handed to 
the first victim, then to another person who writes 



SIMPLE ADDITION 



three more figures, and finally to a third party who 
completes the requisite sum of nine figures. 

All these details must seem insufferably dull to our 
readers, but there is no choice left to us. We 
must set them down whether they are read or not. 
We can only excuse ourselves by pointing out that it 
is on the minute details of any illusion that its suc- 
cess depends, and they are infinitely more difBcult 
to arrange than to describe. Of course in practice 
the performer keeps the thing going by pleasantries, 
such as this: — 'Terhaps the lady next to you, sir, 
will suggest what figures you are to write. You 
know that is an excellent plan in writing figures. 
Get a lady to suggest the figures and a man to write 
them. It is often done when writing cheques." 

Addressing a fourth gentleman the performer 
having glanced at the figures on the paper, says, 
^'Now, I want someone to add these figures together. 
You look a good arithmetician, sir, do you mind find- 
ing the total of this sum, and letting us know what 
it is?" (9). 

Handing him the paper, card, and pencil, the 
conjurer continues : — 

^'You see what has been done, ladies and gentle- 
men. Three persons, strangers to me, have written 
three figures each on a piece of paper. Another 
gentleman is adding them together. You will ad- 
mit that it is impossible for me to know the answer 
to that sum until our accountant tells us what it is." 

As soon as the information is forthcoming it is 
announced by the conjurer who shows the paper to 
the three persons who wrote the nine figures and 



344 



OUR MAGIC 



repeats the answer to each one. This gives them 
the opportunity to recognise their own writing on the 
paper (lo) and is ostensibly done to impress 
the total on their memory, because the performer 
tells them that the experiment necessitates the docu- 
ment being burnt. Crumpling it up he sets light to it 
at the flame of the candle and lays it burning on the 
card which he holds in his left hand. 

"So far anyone could have performed this experi- 
ment, but now I can show you a very curious thing," 
says the magician. "You will remember that a lady 
over there has been holding a marked slate which 
I have not touched. One has heard of pictures by 
wire. What I am going to do is much simpler. 
Here is a small piece of chalk. Watch." 

With the chalk he has taken from his pocket, the 
conjurer points at the slate and moves it as though 
he were writing in large figures the total of the 
sum which we will suppose was 1623. 

"I might have told you, ladies and gentlemen, that 
now the paper is reduced to ashes, my writing in the 
air is sufficient to write upon that slate the answer 
to your sum. Madam, would you mind uncovering 
the slate yourself and see whether or not 1623 is now 
written upon it in chalk." 

The slate is uncovered, and the figures 1623 are 
seen to be written boldly upon it. The performer 
hands back the handkerchief to the owner and dis- 
plays both sides of the slate. When the applause 
and expressions of astonishment have subsided he 
continues with the second phase of the experiment 
which is sure to go well because it is a seasoned and 



SIMPLE ADDITION 345 



tried success being nothing more or less than that 
classical feat so well known to conjurers as the 
"Rising Cards." But this version has an air of 
novelty. The large numbered cards — they are six 
inches by four — replace the ordinary playing cards 
and, to the lay mind, this change is sufficient to give 
a new aspect to the old effect. Strangely enough, 
no one appears to have thought of altering the size 
and character of the cards although countless means 
have been devised for the rising process itself. 

"You will admit that so far I have not deceived 
you — at least, not much," the performer continues 
jestingly, "but the most anxious part of the problem 
is still to come. (He leans the slate against the 
candle stick and picks up the tray.) You will re- 
member that a gentleman over there mixed up these 
cards which have remained isolated over there ever 
since. (To emphasise this he passes the tray over 
and around the frame.) What I will attempt now is 
to separate the figures written on the slate, impossible 
for me to know beforehand, from the rest written in 
this case. I shall use a curious motive power very 
little used even by mechanicians. 

"For instance, you have heard of Number One 
looking after himself. Now you shall see. Number 
one, come out. You see number one rises to the oc- 
casion. (He takes the card out of the case and 
drops it on the tray in his left hand.) The next 
figure is six. "Six, come out quickly!" (The card 
which rises is a nine. The performer appears to be 
confused, but only for a moment.) "I see what it 
is," he explains confidently, "it is a six, but it is up- 



346 



OUR MAGIC 



side down. I will put it back again, the same way 
that it appeared. (He does so), (ii). Now turn 
yourself round, six, and eome up properly. (The 
card rises with the number showing as six.) Now 
two, come out very slowly, half-way. (While this 
card is coming up a good effect is produced by the 
conjurer waving another card over the top of it to 
prove to the audience that the cards are not being 
pulled up from above, which is usually their only 
solution. ) That's right. Now show your better half 
quickly. 

"The last figure is three. Three, come out quickly. 
Three, jump out." (The card jumps three or four 
feet in the air and is, if possible caught on the tray.) 
(i2.) The complete total is now displayed on 
the tray and our feat of magic with figures is over. 
Before we close, it may be as well to point out that 
the numbered cards can be easily dispensed with 
when showing in a small room or where the cords 
cannot be conveniently hung up. The latter part 
of the effect was designed by the original performer 
to give spectators at the back of a large hall or theatre 
something to look at; otherwise, only those in the 
front rows who handled the slate and wrote the sum, 
would appreciate what was done and the gallery 
might feel a little out of it. When arranging a con- 
juring problem it is as well to remember that it 
ought to appeal both to the mind and to the eye, to 
old and young, to gallery and stalls. 



SIMPLE ADDITION 347 



TRICKS OR DEVICES, AND PREPARATIONS. 

(a) The figures are already on the slate at the 
commencement but are concealed by a false flap 
made of cardboard covered on one side v^ith paper 
similar to the pieces that are lying on the table and 
on the other side with paint to represent the slate. 
This false side fits easily but exactly within the frame 
of the slate, and is kept in position by the performer's 
finger tips while the slate is being handled. 




Figure 26. 



(b) On one side of the paper offered for writing 
the nine figures upon is already written a similar 
sum, the total of which is upon the slate. The 
figures are at the top right hand corner of the paper. 

(c) Ten extra cards are prepared. Five of them 
represent the numbers in the total, the second number 
being in duplicate. Another card is painted upon 



348 



OUR MAGIC 



one side to represent the inside of the Japanese tray 
used, and four more to act as partitions. 

In the diagram it will be seen how the cards are 
arranged to rise. A length of silk thread is knotted 
at one end, and the knot is engaged in a slit made 
by a sharp penknife at the lower edge of Card i. 
It is then passed behind Card i and over partition 
B, under Card 9 and over partition C, under 6 and 
over D, under 2 and over E and lastly under 3 
and over F. The cards are laid on the Japanese tray 
with 3 at the bottom and the thread is passed over 
the back edge of the tray, down to a screw eye in a 
back leg of the table, near the foot, and thence along 
the floor to the assistant at the back or side, and the 
Card A is laid on the top. The tray should be deep 
enough to receive all the cards and its inside measure- 
ment should be a trifle more than the outside measure- 
ment of the cards, except in length, which should 
measure a few inches more than the cards. 

INSTRUCTIONS. 

(i.) Which contains the cards prepared as above. 

(2.) The false side is on top. 

(3.) Just over the leg of the table on which the 
screw eye is fixed. 

(4.) Taking care to put one or two fingers on the 
flap to hold it in position. 

(5.) Without the false side. 

(6.) If the top card shows one of the figures in the 
arranged total alter it on the journey. 

(7.) The cards are dropped on the prepared pack 
in the tray, and when they are picked up again the 



SIMPLE ADDITION 



prepared cards are taken widi them. The squaring 
up of the cards — which is done by knocking the edges 
of the cards on the tray) is necessary to prevent the 
edges of the painted card being observed. 

(8.) In displaying the paper the sum is covered by 
two fingers, and when the paper is laid on the card 
the sum is underneath the lower end of the paper. 

(9.) When the performer receives the card and 
paper from the third person he takes the paper ofif the 
card and again concealing the prepared sum with two 
fingers, glances at it. When he has found a volun- 
teer to do the addition he replaces the card with the 
prepared side up. 

(10.) On receiving the paper back the performer 
again takes it off the card and turns it, and when he 
shows it to the persons who wrote the figures he has 
his thumb, apparently by accident, over the place 
where the total should be written. The persons are 
satisfied with his statement, and the rest of the audi- 
ence will imagine that they have actually seen the 
total under their own figures. All the persons who 
handle the paper should be some distance apart, so 
that they cannot easily compare notes. 

(11.) Taking care to put among the unprepared 
cards in front. 

(12.) This disengages the thread from the slit, and 
the assistant pulls it in out of sight. The thread 
must, of course, be invisible to those in the front row 
of seats. Therefore, the distance and the background 
must be considered and chosen beforehand, and 
tested. 



CHAPTER IV 



WITH A BORROWED WATCH. THE FORGOTTEN GUEST. 

Comedy in conjuring usually depends on the ap- 
parent destruction or loss of some confiding person's 
property, and in this class of magic an assistant from 
the audience is generally deputed to take charge of 
the borrowed article. A great deal of laughter is 
caused when this innocent gentleman is made to ap- 
pear to lose valuable jewellery or unwittingly de- 
stroy things. In this and the following chapter we 
propose to give examples of this kind of work, which 
is always popular, especially with juveniles. 

Great tact is required by the conjurer who asks 
anyone to assist him. The conjurer must always re- 
member that the volunteer helper is rendering a 
service, and that it would be very bad taste on the 
conjurer's part to repay this favour by making the 
stranger feel uncomfortable or attempting to score 
off him in any way whatever. The audience ex- 
pects to be entertained by the conjurer, not by jokes 
at the expense of individuals amongst them. On 
the other hand there is nothing they like better if they 
feel that the individual is a willing victim or, if the 
performer can so arrange the af]fair that no one is 
offended at the finish. 

To accomplish this the wizard will be wise to 
treat the good-natured man who usually responds to 

350 



THE FORGOTTEN GUEST 



an invitation to step up and hold something, not as 
an inferior and ignorant person, but as a good friend 
who is worthy of all consideration. No man cares 
to look a fool, but only a foolish person will refuse 
to take his part in a joke when once he has taken the 
first step and, when he understands that he is play- 
ing part of the game he will rather enjoy it. 

An experienced conjurer will not call upon a 
volunteer assistant without first obtaining his consent 
to help. After that he will take him into his confi- 
dence. A whispered word at the right moment will 
give the visitor a feeling of importance, especially 
if the conjurer conveys the idea that the success of 
the evening depends upon his kind assistance. 

Manners make or mar any entertainer who gets 
into personal touch with an audience, and if our 
magician lacks the right manner for managing peo- 
ple he had better leave this particular sort of work 
alone and make up his programme with problems 
that do not require the assistance of the spectators, 
for alas, we cannot give him the secret of it. 

The presentation of the illusion we are about to 
describe takes about ten minutes, and it has never 
failed to keep any audience laughing the whole time. 
As the actual feat performed, namely, passing a 
watch from a paper bag into a man's pocket hardly 
seems important enough to fill that time in a conjur- 
ing seance we propose in this instance to give every 
word of the original patter. Once again we must 
impress upon the reader that we are simply giving 
examples of how illusions are built up from very 
simple material and made entertaining. We do not 



352 



OUR MAGIC 



ask our would-be wizard to wear our second hand 
clothes — that is to say, to use our patter. We are 
ashamed to see our clothes thus set out in the light. 
Still, the student will see the cut and the workman- 
ship, and he can get his own cloth and cut it to suit 
his own figure. Our models would never fit him. 
When the conjurer commences this experiment he 




Figure 27. 



has a sheet of white paper in his right hand and on 
a small table behind him is a conjurer's pistol and a 
silk handkerchief; a box of safety matches is secreted 
behind some other article on the table — say, a candle- 
stick — and a chair is also provided. The conjurer 
begins : — 

"For one more infliction I will borrow a watch. 



THE FORGOTTEN GUEST 353 



Is there anyone who will lend me a watch? I see 
lots of chains, A modern watch will do, any ordi- 
nary watch that will last out the experiment! 

^'Thank you. That lady offers me her watch. 
Now, I want a boy to help me with this. Just an 
ordinary boy; I don't want a boy over fifty. I 
simply want a boy to hold the watch for a few 
minutes, so that I don't touch it myself. It makes 
the experiment so much more interesting. (Here a 
boy usually gets up from his seat and advances.) 
Make haste, there's no hurry. You might bring that 
lady's watch with you. That's right. Now come 
up here. (The boy puts one foot on the last step 
leading to the platform.) Bring the other leg up 
with you. Would you mind standing over there (in- 
dicating a position on the left of the platform as the 
boy faces the audience) and will you please hold up 
the watch so that everyone can see it? 

^'Now do you mind acting as a committee, a com- 
mittee of one, a sort of watch committee, and will 
you do everything I ask you? How nice to have a 
committee that does all you ask!" 

The conjurer is holding the paper with his right 
hand by the left side top corner (i). He now 
takes hold of the left hand bottom corner with his 
left hand and pulls it up towards himself and over 
the corner in his right hand. Then he twists the 
top corner round inside and the bottom corner round 
outside. When he has done this he will be in a fair 
Avay to form the sort of bag. grocers make to hold 
a small quantity, of sugar. We hope the rest will 
come naturally, because we find it beyond us to de- 



354 



OUR MAGIC 



scribe the operation further. The bag is finished by 
screwing the point up in the usual way (2). 
The inside of the bag is shown to the boy and the bag 
is then handed to him. All this is done to the ac- 
companiment of a waltz tune played by the piano or 
an orchestra, and the cue for the music to commence 
is: ^'I am going to make this piece of paper into a 
sort of cornucopia." This information is addressed 
to the audience and the conjurer proceeds to twist 
up the paper. Turning to the boy he unexpectedly 
addresses him: — 

''How do you like the weather? It's rather colder 
than that warm weather, isn't it? What a great 
many changes we've had after the changes. Such a 
lot of weather for the time of year. Do you re- 
verse?" 

The effect of this should be apparently due to the 
performer having been suddenly inspired by the 
waltz tune to give an impromptu burlesque of a 
dancing couple's conversation as heard through the 
music, and it must be spoken in a high pitched voice. 

"Well, here is my apparatus. (The music 
stops.) I couldn't use anything simpler, could I?" 
says the conjurer, showing the inside of the bag to the 
boy and then placing it in the hand not already oc- 
cupied in holding the watch. "I want you to hold 
this bag and to hold the watch above it by the bow, so 
that everyone can see it. (Steps a few feet away 
from the boy.) Now, when I tell you to drop the 
watch into the bag don't drop it on the floor, will 
you? Don't laugh. This is serious. Now drop it 
gently." 



THE FORGOTTEN GUEST 355 



The boy duly drops the watch into the bag, and 
the conjurer continues: 'T think everyone must be 
absolutely certain that the watch is now in the bag. 
Are you certain?" The question is addressed to the 
boy who, as a rule, promptly makes quite sure by 
looking into the bag, and the conjurer, amidst much 
laughter, can bow to the implied compliment. He 
continues : — • 

''May I close the bag? I do this myself because I 
do these things so gracefully, don't I? Like an ele- 
phant getting off a cycle on a muddy day. Now will 
you hold the bag so and stay like that for about three 
quarters of an hour, if you don't mind?" (3.) 

A laughable bit of business is now introduced. 
Having folded the top of the bag over and instructed 
the boy to hold it by a finger and thumb, the conjurer 
turns to the table at the back to get his pistol and 
handkerchief, but before going he whispers to the 
boy to feel if the watch is still in the bag. While the 
performer has his back turned the boy naturally 
does so; at least, it appears to the audience to be a 
natural thing for a smart boy to do. Attracted by 
the laughter that ensues the conjurer turns round, and 
says, "Well, it hasn't gone yet, has it?" This query 
also appears natural to the boy and he has no idea 
that the episode is looked at in a different way by 
the audience. To them the conjurer appears to have 
been taken at a disadvantage, and to have stood the 
test well. Clever conjurer! 

Now the performer calls attention to the pistol 
and handkerchief and also announces what he is 
about to do, in this way : — 



OUR MAGIC 



"I have here a small pocket pistol! I will load it 
with this handkerchief. When I fire this pistol the 
watch in this bag will take an invisible flight round 
the room and finally alight in a gentleman's pocket 
without my touching the boy or leaving the platform. 
I want one of the gentlemen in the audience to say 
that he is willing to receive the watch in his pocket. 
If there is anyone who will do this will he please 
hold up his foot — I mean his hand. Of course I 
must have a responsible person — say, a married man. 
Thank you, sir. It is very kind of you. (To the 
boy.) That gentleman over there with a black coat 
and two ears is going to receive the watch. Can you 
see him?" 

Then follows the business of aiming the pistol at 
the boy as though about to fire and pretending to 
discover that the boy is frightened of the report. 

"Don't look like that. Good-bye." He solemnly 
shakes the boy's hand in farewell. "You really need 
not be nervous. I've performed this experiment 
some hundreds of times and I've killed only one 
boy (4). He died, but he was only a very 
small boy. But I see one of the ladies looking nerv- 
ous. Well, perhaps it would be better if I dispensed 
with the pistol and made a sort of air gun of this 
part. Look." 

The barrel of the pistol is pulled away from the 
butt which is thrown on the table. The handker- 
chief is apparently vanished by the mere act of blow- 
ing through the barrel in the direction of the bag. 
The barrel is then shown to be empty and is laid 
down with the pistol. The conjurer now takes the 



THE FORGOTTEN GUEST 357 



bag and in dumb show extracts an invisible watch 
from the cornucopia and throws it towards the volun- 
teer who is to receive it. He then unrolls the paper 
and only the handkerchief is seen. The paper is 
spread out under the boy's nose and he may pick up 
the handkerchief and shake it. (He is invited, in 




Figure 28. 



a whisper, to do so.) The watch is no longer there 

The conjurer has, of course, been talking during 
this business. After blowing the handkerchief away 
he says : — "You see, the handkerchief has gone and is 
now in this bag. I will take the watch out of the 
bag invisibly and send it flying into your pocket, sir. 
It's pretty sure to arrive; it's not going by a south 



358 



OUR MAGIC 



coast railway. An}rsvay, it has left the paper. Isn't 
that an easy way of passing away the time?" 

Crumpling up the paper into a ball and taking the 
handkerchief from the boy, the performer politely 
thanks him for the help he has given and cordially 
invites him to take a seat and make himself at home, 
etc. The performer also contrives to whisper one 
sentence: ^'Directly my back is turned, jump up from 
the chair and look at the seat." The boy will usually 
obey, and the effect v/ill be that he has had an electric 
shock or sat on a pin. ^'HuUo," says the conjurer, 
with a concerned air, ''something wrong with the 
chair?" Pretending to examine it he says to the boy 
quietly. ^'Try that again for a joke. It went well. 
Sit down, and when I touch the back of the chair 
jump up quickly." Then, aloud, he says: ^'Do try it 
again; I assure you it's an ordinary chair. It must 
have been your imagination. Please sit down. 
There, you see it's quite all right. Are you comfort- 
able?" 

Here he touches the top rail of the chair back and 
the boy jumps up as prompted. Apparently with the 
idea of reassuring the victim again the conjurer sits 
in the chair himself and persuades the youth to try 
it once more. This time nothing happens until the 
conjurer advances to the front of the platform when 
once more the assistant jumps up and the chair falls 
over. The secret instructions have again been faith- 
fully carried out. The boy had simply been told in 
a whisper: "Jump up quickly when I reach the front 
of the platform and kick the chair backwards." 

All this is a very funny interlude for a popular 



THE FORGOTTEN GUEST 359 



audience, but of course it is not suitable for all oc- 
casions, and can be left out when necessary. If it is 
included in the performance it is concluded by the 
conjurer saying: — ^What a restless boy. Perhaps 
you had better sit still standing up." Then, ad- 
dressing the gentleman in whose pocket the watch is 
supposed to be, the conjurer continues: — 

^'Now, sir, I think the watch will have arrived by 
this time. Will you please look in your pockets and 
pass the watch to the lady on your left because it is 
her watch." 

All the attention of the audience will now be 
concentrated on the man searching his pockets, and 
the performer goes up to the table and deposits 
the ball of paper and the handkerchief on it (6). 
Then, returning, he says: — 'Ts it the same watch, 
madam? You haven't received it? Haven't you 
found it, sir? Isn't it in your waistcoat pocket?" 
In a solemn manner he adds, "Are you serious, 
sir?" 

After a slight pause, during which the conjurer 
looks suspiciously at the boy on the stage, he remarks : 
— "It will make things most uncomfortable for my 
committee." Then he addresses the man again: — 

"You aren't joking, are you, sir? Oh, you never 
joke. Scotchman, perhaps. Whose watch was it? 
Yes, I remember; it was that lady's. Madam, may 
I ask if you see the joke? You would rather see the 
watch? Quite so. But it's most unfortunate for 
you, isn't it? You remember that I didn't touch 
your watch, and of course you will quite understand 
that the experiment is over, so far as I am concerned. 



360 



OUR MAGIC 



It is a matter to be settled between yourself and that 
gentleman." 

All this must be delivered as though the conjurer 
was receiving answer to questions which, of course, 
are imaginary. Now he pretends to overhear a sug- 
gestion from another part of the room, and answers 
indignantly : — 

^^No! I don't want to search him." Then, to 
the victim, ^'Someone over there suggests searching 
you, sir. Someone who knows you perhaps." 
Again, to the supposed speaker, with rebuke, ^'I 
think it is extremely rude. Really, I see nothing to 
laugh at." This said seriously only adds to the 
general hilarity. 

With a puzzled air the conjurer turns to the boy 
on the stage. "What shall we do, Mr. Chairman? 
Oh, you don't know, and you don't care, I suppose. 
But something must be done. Would you mind, 
sir, if I put just two fingers in one of your pockets. 
I am able to tell whether the watch has ever been 
there." This is said to the gentleman in a pleading 
tone, and now, to the whole audience very seriously, 
"Ladies and gentlemen, I give you my word as a 
conjurer that I wouldn't deceive you for worlds. If 
that gentleman will come here for a minute you will 
see. Would you mind stepping here for one mo- 
ment, sir, but don't bring that big stick!" 

When the gentleman has accepted the invitation 
(7), the conjurer assures him in a whisper that 
it is only a joke. Getting him to stand facing the 
audience, the conjurer takes hold of the right lapel 
of the gentleman's coat, opens it so as to show the 



THE FORGOTTEN GUEST 361 



waistcoat pocket which he assures everybody is his 
only objective. 

To show that everything is above board he calls 
upon the boy as a sort of witness. "Will you come 
over here, Mr. Speaker?" He places the boy in a 
position behind and between himself and the person 
who is being operated upon. "Now, sir, watch, and 




Figure 29. 



if you find me putting anything into your pocket 
will you call out and tell the audience. Mr. Presi- 
dent," (this to the boy) "If you detect me putting 
anything in this gentleman's pocket except two 
fingers, please say so." 

Now to the gentleman the conjurer addresses a 
totally unexpected query. "Excuse me asking, but 



362 



OUR MAGIC 



do you smoke?'' Whether the answer is in the af- 
firmative or negative he goes on: ^^I really thought 
you did because you carry matches." Here he ap- 
parently produces a box of matches from the gentle- 
man's beard or moustache (8). These he throws 
on one side; the by-play is over. ^'Now for 




F16URE 30. 



the watch," he continues. The two fingers are 
thrust into the pocket and the hand is brought away 
half closed as though containing something (9). 
"Here it is," cries the conjurer, but when he 
opens his hand it is empty. Without giving time for 
thought the conjurer puts his hand back again and 
this time a good sized live rabbit is brought from 
under the man's coat and round the rabbit's neck is 



THE FORGOTTEN GUEST 363 



a coloured ribbon and hung from the ribbon is the 
borrowed watch (10). 

Attention is called to the watch. The gentle- 
man from whose pocket this forgotten guest was 
produced is politely thanked and dismissed, and the 
conjurer puts the rabbit on the smaller table and 
asks the boy to identify the watch. The boy duly 
recognises the watch and the conjurer proceeds to 
untie the ribbon. Pretending to overhear the boy 
asking whether the rabbit is alive he says: — ''Alive? 
Of course it is. It isn't a Welsh rarebit. You never 
saw a Welsh rarebit with a watch tied round its neck, 
did you?" Then, having untied the ribbon, he asks 
the boy: "Is this the same old watch, the same watch, 
I mean? Would you mind taking it back to the lady 
with my best thanks ?" Here the conjurer apparently 
tosses the watch into his left hand and gives it to the 
boy, but he receives nothing. The watch has 
vanished (n). 

''Now, what have you done?" says the wizard. 
'Tou haven't got it? But I gave it to you. Ah,' 
here it is." (12.) The conjurer takes it from be- 
hind the boy's ear and now really hands it to him to 
take back to the owner. 

TRICKS OR DEVICES. 

a, A double paper. 

b. A cup in the barrel of the pistol. 

PREPARATIONS. 

The paper with which the bag is formed is made 
of a stoutish kind, and measures 44 inches by 35 



364 



OUR MAGIC 



inches. It is folded once across and the edges are 
pasted together all round with the exception of about 
one-third of one end, which is left open in the mid- 
dle. 

A moderate sized rabbit is placed in the large 
pocket marked D, under the performer's left arm, 
with its head to the opening. To keep this pocket 
closed until required, a tab of elastic with a small 
metal ring attached is sewn to the front edge of the 




Figure 31. 



pocket. Opposite this, through the coat itself, a hole 
like a button-hole is made. The tab is pushed 
through this and fastened to a hook which is sewn 
under the hole, outside the coat, and concealed by 
the lower part of the lapel. The hook used is an 
ordinary large dresshook fastened on to the coat 
with the point of the hook pointing downwards. A 
ribbon is fastened very carefully round bunny's neck, 
as loosely as is compatible with safety, and tied in a 
firm bow. In the centre of this ribbon, hanging just 



THE FORGOTTEN GUEST 365 



underneath the animal's nose, is a spring hook such 
as is used for small dog leads. This must be covered 
with ribbon to hide it as much as possible, the idea 
being that the watch should appear to be threaded on 
the ribbon when it is discovered. 

INSTRUCTIONS. 

(1) Between the corner of the paper and the mid- 
dle joints of his fingers he holds concealed a dupli- 
cate silk handkerchief. It is neither rolled nor 
folded, but made into a ball with the corners inside, 
so that it springs out directly he leaves go of it. 

(2) The handkerchief is released and left at the 
bottom of the bag. The secret opening ought now 
to form half of the circle described by the mouth of 
the bag. The inner side of this is seized and pressed 
over to the other side of the bag, and the hand is 
passed down into the space between the double paper, 
which now appears to be the legitimate inside of the 
bag. 

(3) This folding over of the top brings back the' 
one edge of the concealed opening to join the other 
again. 

(4) Saying this, the conjurer lays the mouth of 
the pistol on his left hand. The cup is clipped be- 
tween the first and third joints of the fingers and 
when the pistol is raised again to point at the boy the 
left hand is quietly lowered to the pocket marked G, 
and deposits there the cup containing the handker- 
chief. 

(5) This is done in a series of definite movements. 
First the performer grasps the top of the bag firmly 



366 



OUR MAGIC 



with the finger and thumb of his right hand and takes 
hold of the point with the same fingers of his left 
hand. Having unscrewed the lower end he twists 
the folded top towards himself until about half the 
bag is unrolled. Now he transfers his left hand and 
seizes the centre of the unfolded part. He will find 
that he is holding the watch through the paper. 
With the right hand he straightens out the folded top. 
Having done this, the conjurer transfers his right 
hand to about the middle of the longest outer edge 
of the paper, and the rolled up edge is allowed to un- 
furl into the left hand which supports the watch. 
(See Fig, 28.) The handkerchief is now on the 
opened out sheet of paper. The boy takes the hand- 
kerchief and the performer carelessly shows all sides 
of the paper by holding only the edges. Incidentally 
he contrives to show that his hands are empty. He 
then crumples up the paper into a ball and while 
doing so presses the watch partly through the paper, 
and keeps the parcel, with the watch and the hand- 
kerchief, in his left hand. 

(6) Just before this, while addressing the boy, the 
performer has taken an opportunity of disengaging 
the ring from the hook and pulling the tab through 
the hole in his coat. Afterwards, to the end of the 
experiment, he takes care to keep his left forearm 
over the mouth of the pocket to prevent a disclos- 
ure of the rabbit's nose. The watch is attached to 
the hook on the rabbit's neck at the moment that the 
paper and handkerchief are placed on the table. 
The watch must be attached as quickly as possible, 
but without any hasty movements to call attention to 



THE FORGOTTEN GUEST 367 



the fact that anything unusual is taking place. Most 
of the audience are watching the man who is search- 
ing for the watch, and the conjurer has his back to 
the rest, so that the keenest observer can only guess 
what the conjurer is doing. He appears to be adjust- 
ing the set of his waistcoat or something of that sort. 
After the watch is safely attached, it is as well to 
take hold of the left lapel and thus keep the open- 
ing of the pocket firmly closed because the rabbit has 
now been disturbed and has seen the light, and will 
therefore be a little restless. 

(7) While the gentleman approaches, the conjurer 
coolly walks up to the table, moves it a little nearer 
and thus gets possession of the matches which he clips 
between the tips and lower joints of the right hand 
fingers. 

(8) He is holding the gentleman's coat lapel with 
the hand in which the box is concealed. He simply 
moves it upwards and produces the box with the same 
movement used for a billiard ball in Chapter H. 
When he lets go of the coat with the right hand he 
takes hold of it with the left in readiness for the next 
movement. 

(9) To do this he approached the gentleman 
closely and grasped the lapel of his own coat with 
the disengaged fingers of the left hand, which now 
holds both coats together for the next movement. 

( 10) The right hand, having been shown empty, is 
brought back very quickly. Then it swoops down on 
the ears of the rabbit and without pausing takes it 
from the pocket to underneath the gentleman's coat. 
The short journey is completely covered by the per- 



368 



OUR MAGIC 



former's body, but the moment the rabbit is trans- 
ferrer! the performer moves away sufficiently for 
everyone to see the rabbit taken from under the 
gentleman's coat. The performer should pretend to 
have some difficulty in getting the rabbit away from 
the coat. Also the performer should remember to 
let go of his own lapel the moment the rabbit is safely 
under the other coat and close the coat over the rab- 
bit. 

(11) He is holding the watch in the bent fingers 
of the right hand. He now simply clips it firmly 
between the upper and lower joints of the fingers and 
turns the hand over as though he were dropping the 
watch into the other hand, the fingers of which ap- 
parently close over it. Now, with the left hand he 
gives the boy the watch which i5 not there, while he 
takes care to hold the right hand in such a position 
that no one catches sight of the watch. 

(12) When the boy has realised that he has not got 
the watch the conjurer quickly puts it behind the boy's 
left ear and slowly brings it into view. It can, of 
course, be equally well produced from any other part 
of the boy's anatomy or clothing. To get the right 
effect the conjurer must, of course, keep the watch 
concealed until he has it under cover, and his hand 
travels to the selected spot very quickly. The mo- 
ment the watch is covered by putting it behind the 
ear or whatever other object is used, all the fingers 
are withdrawn from the watch except the first finger 
and with this and the thumb the watch is very slowly 
and deliberately brought out again. 



CHAPTER V 



WITH A BORROWED HANDKERCHIEF. A LESSON IN 

MAGIC 

The combination we are about to describe in- 
cludes, perhaps, the best effects with a borrowed 
handkerchief that have yet been invented, and it will 
be an excellent exercise for our readers to refer to 
the books of Hoffmann and Sachs and themselves 
peruse the instructions there given for experiments, 
of the comedy class, with borrowed handkerchiefs. 
Having done this the student will have before him 
all the information of which the author of this 
combination made use of. He arranged the series 
for the special purpose of complying with his wife's 
expressed wish that he should do one of those ^'funny 
tricks in which handkerchiefs are burnt up and re- 
stored" at a children's party which was about to be 
given. 

So great was the success of this series of effects 
that we thought it worthy of place in this book, first 
as an example of the class of conjuring discussed in 
the last chapter, and secondly as a specimen of the 
work that can be done with old material without 
slavishly copying other performers. 

Only ordinary everyday articles are used. A bor- 
rowed handkerchief is the principal object of at- 

369 



370 



OUR MAGIC 



tention. The performer also uses his own handker- 
chief, — (a dark red silk one) — a pint claret bottle 
containing enough wine to fill a small tumbler, a 
sheet of newspaper, two dinner plates, a lighted 
candle in a stick, a pair of scissors, a table knife, and 
a lemon which is magically produced in the course 
of the experiment. 

The plot is arranged in this way. The conjurer 
invites a boy to have a lesson in magic, and he also 
borrows a white handkerchief of moderate size. 
The boy is asked to bring the handkerchief to the 
platform. The conjurer receives it and in doing so 
incidentally shows that he has nothing concealed in 
his hands. The boy is asked to stand on the con- 
jurer's left and is told that he will be taught how to 
turn a handkerchief into a lemon. 

The lesson is begun by the wizard rolling up the 
handkerchief into a ball and showing the boy how 
to knead it between his hands in a certain way. The 
boy, being assured that this will have the desired re- 
sult, is about to begin, but the conjurer pauses to 
ask permission of the owner of the handkerchief, and 
promises him that if any damage is done to his prop- 
erty his (the conjurer's) handkerchief shall be 
treated in the same way. 

Having exhibited his own handkerchief the con- 
jurer asks the boy to continue the kneading process 
with the borrowed handkerchief, and the surprises 
then follow each other in quick succession. We de- 
scribe them briefly in tabular form. 

I. The borrowed handkerchief becomes a num- 
ber of pieces of thin cambric. 



A LESSON IN MAGIC 371 



2. These pieces, being rubbed between the hands 
of the boy assistant, become a very long strip of 
cambric. 

3. This strip is gathered up into one hand by the 
conjurer and suddenly becomes transformed into a 
real lemon. 

4. The lemon is put on a plate. A spell is said 
over it. The lemon is cut open and found to contain 
the handkerchief, now restored to its proper appear- 
ance. 

5. The boy is shown how to cut a piece out of the 
centre of a handkerchief and mend it by the heat 
of a candle flame. 

6. The boy tries it, and the result is the burning 
of the handkerchief — apparently by accident. 

7. The performer, having promised to submit his 
own handkerchief to any process which damages the 
borrowed one, allows the boy to try his 'prentice hand 
on his, with the same result. 

8. Both handkerchiefs are now blazing away on 
plates. The conjurer extinguishes the flames by 
emptying the contents of one plate into the other and 
putting the empty plate on the top of the burning 
material. Then he empties the smouldering ashes 
into half a sheet of newspaper, and offers the parcel 
to the spectator who lent the handkerchief. The 
offer having been refused, the conjurer says a few 
words of magic import, tears open the package, and 
discloses the handkerchiefs, both apparently com- 
pletely restored. When the handkerchiefs are 
shaken out, the coloured one is seen to have a white 
centre and the white one a coloured centre. 



372 



OUR MAGIC 



9. The conjurer throws the disfigured handker- 
chiefs to the boy in disgust, apologises to the owner 
of the handkerchief, and asks him to have a glass 
of wine with him, just to show there is no ill feel- 
ing. With this the conjurer pours out into tum- 
blers some wine from the bottle which has been in 
view of the audience throughout the experiment. 
The gentleman having tasted the wine, and pledges 
having been exchanged the conjurer asks him to see 
if there is any left in the bottle, and also to recork 
it. Meanwhile he gives his empty glass to the boy 
and instructs him to wrap the white handkerchief 
in the red one and put both together in the tunibler. 
Then, returning to the gentleman, who has had am- 
ple opportunity to examine the bottle, he asks him 

• to inform the company how much wine there is left. 
*'About half a tumblerful," replies the gentleman. 
The performer takes the bottle and places it on the 
table. Picking up the half sheet of newspaper he 
covers the glass containing the handkerchief with it. 
The boy is asked to grasp the tumbler with his left 
hand, and to hold the paper cover with his right. 

10. Taking the tumbler from the boy's hand the 
conjurer whisks away the newspaper and shows that 
the tumbler now contains the claret. And then after 
tapping the bottle all over with a hammer to prove 
indirectly that it is a whole bottle, he finally smashes 
it and instead of the wine the two handkerchiefs are 
disclosed. They are now completely restored. 

There is so much meat in the meal, the menu of 
which we have mapped out above, that we believe 
it will aid the digestion of our hungry student if we 



A LESSON IN MAGIC 373 



leave out all sauces and decorations in the way of 
patter and artifices of serving, and content ourselves 
with showing him exactly how to prepare the dishes. 

The first thing to do is to make a list of the appli- 
ances required. The student is advised to provide 
everything used, and to keep all the things for this 
experiment only. Here is the list. 

1. A lemon prepared with a dummy handkerchief 
as described in Sachs' ''Sleight of Hand," page 210, 
or Professor Hofifmann's "Modern Magic," page 
246. 

2. Two handkerchiefs — a claret coloured silk one 
and a white one — prepared with the wrong centres. 
See "Sleight of Hand," page 215, 

3. Two whole silk handkerchiefs of the same col- 
our as the prepared one. 

4. A bundle of pieces of linen or cambric. There 
should be about ten pieces, each about three to eight 
inches square. (They can be made from worn dress 
ties pulled out and cut up.) 

5. A strip of cambric about 4 yards long. (This 
can be made by joining old dress ties.) 

6. A separate piece of white linen about three 
inches square. 

7. A couple of sheets of paper. A double sheet 
of newspaper which can be torn will do. But one 
side is really two sheets pasted together round the 
edges. 

8. Two pint claret bottles of dark colour, one con- 
taining a tumblerful of claret. 

9. Three small tumblers, one-half full of claret 
and covered with a cap, in jam pot fashion, made 



374 



OUR MAGIC 



of two or three thicknesses of the paper used for the 
sheets and secured by a rubber band attached to the 
cap. 

10. A piece of string about 45 inches long, with a 
small leaden wxight attached to one end and an 
ordinary split key ring, about inches in diameter 
neatly tied on to the other end. 

11. Another ring sewn on to the middle of the 
waistcoat that is worn, or, if the vest is split up the 
back as advised, to the centre of the braces. 

12. Two plates. 

13. A knife to cut the lemon. 

14. A pair of scissors to cut the handkerchief. 

15. A candle in a stick, and a box of matches. 

PREPARATIONS. 

The prepared lemon containing the white hand- 
kerchief is in pocket E. The two handkerchiefs 
with wrong centres are laid flat in the centre of the 
pocket formed by the double sheet of newspaper. 
This sheet, and the bottle of claret, the two tumblers, 
the two plates, the matches, candle, and scissors are 
all on the table at the commencement of the per- 
formance. 

Behind the scenes is an assistant who has charge 
of the second claret bottle into which has been 
pushed, with a pencil, one of the claret coloured 
handkerchiefs. He is also provided with the table 
knife and the separate piece of cambric folded as 
described. Behind the table and close to it must be 
a curtain with a slit in it large enough to admit of 
the passage of the bottle. The back edge of the 



A LESSON IN MAGIC 375 



table should cross the centre of this horizontal open- 
ing, which is concealed by a natural-looking fold in 
the curtain. 

The prepared tumbler is carried in pocket G, and 
the long strip of cambric is rolled lightly round the 
hand, slipped off, and the loose end is tucked into 
the centre. The oval bundle thus formed is care- 
fully placed under the left side of the vest in such 
a way that there is no danger of it slipping down 
prematurely and showing a white piece against the 
black clothes. 

The second silk handkerchief is put loosely into 
pocket and on the top of it lies the bundle of pieces 
of cambric, which is prepared by wrapping them 
loosely in one of the pieces, made large enough for 
the purpose. The four corners of this square are 
brought forward over the rest of the scraps, and se- 
cured by a small piece of white tissue paper or stamp 
edging, so gummed on that the slightest pressure 
will break it. 

One point of the split key ring is opened, and the 
inside edge of the right hand shirt cuff is inserted 
in the opening. The ring is then twisted so that it 
holds firmly on to the cuff. The weight on the 
other end of the string is then passed through the 
ring at the back of the waistcoat or braces, and 
thence to pocket E, where it is laid underneath the 
lemon. 

INSTRUCTIONS. 

Having borrowed the handkerchief the conjurer, 
standing on the right of the boy, folds up the hand- 



376 



OUR MAGIC 



kerchief into a small bundle by putting the corners 
in the centre and then repeating the operation, if 
necessary, two or three times, until the handkerchief 
is in a small bundle. Without allowing the hand- 
kerchief to spring out the conjurer places it on his 
left hand and then puts his right hand over it. He 
rubs the handkerchief between his tw^o hands with 
a circular motion and also changes the position of his 
hands by turning first the left and then the right up- 
permost. He tells the boy he is to imitate these 
movements and while the boy is thus employed the 
conjurer addresses the lender of the handkerchief 
and tells him that if any damage is done to the hand- 
kerchief he (the conjurer) will gladly submit his 
own handkerchief to a similar experiment. 

So saying, the conjurer puts his hand into his left 
hand pocket in order to get at his handkerchief. It 
is quite natural that he should want to show the 
handkerchief of which he has just spoken. In tak- 
ing out his handkerchief he secretly takes out the 
bundle of pieces as well. The rolled up handker- 
chief is still in the conjurer's left hand, being held 
there between all his fingers placed close together 
and the thumb on the top of the handkerchief. 
About half the bundle is seen above the tips of the 
fingers, and the back of the hand is towards the audi- 
ence. 

Having taken out his own handkerchief and, un- 
known to the audience, the little bundle of pieces, 
the conjurer brings his right hand up to his left, 
grips one corner between the first and second fingers 
of his left hand, and takes hold of the opposite cor- 



A LESSON IN MAGIC 



ner with his right hand, in which the bundle is con- 
cealed. Then, still addressing the owner of the 
handkerchief the conjurer takes it in the right hand 
which releases its hold of the corner of the conjurer's 
handkerchief. In taking the handkerchief in the 
right hand the conjurer places the bundle over it but 
the top of the rolled up handkerchief is a little way 
behind the top of the bundle. The owner of the 
handkerchief believes that he is looking at his prop- 
erty. The back of the conjurer's hand is towards the 
audience. 

Now the conjurer can show the inside of his right 
hand by turning the hand over towards the audience, 
holding it well down and masking there the two 
bundles joined with his thumb. Then, bringing his 
right hand over to his left he grasps the bundle and 
the handkerchief together with the fingers of his left 
hand, but it will be seen that it is the bundle that 
projects beyond the fingers, and the handkerchief is 
now in the palm. The back of the hand is still 
towards the audience. In the act of taking away his 
own handkerchief with his right hand the conjurer 
places his hand underneath it, and, gathering it up, 
grasps the borrowed handkerchief concealed in its 
folds. Figs. 32, 33, 34, 35, 36, 37. 

The conjurer then replaces his handkerchief in his 
pocket. The audience believe that they still see the 
borrowed handkerchief in his left hand, but that 
handkerchief, of course, is now safely in the con- 
jurer's pocket. Directly the conjurer put his hand- 
kerchief — and secretly, the borrowed handkerchief 
— in his pocket, he quickly got the latter free from 



A LESSON IN MAGIC 



379 




Figure 36. 



Figure 37. 



38o 



OUR MAGIC 




Figure 38. 



the former s o that 
when he next 
wanted to take out 
his handkerchief it 
was ready near the 
mouth of the 
pocket. 

The boy is i n- 
structed to roll 
what appears to be 
the handkerchief 
between his hands, 
and the conjurer 
pretends to be prop- 
erly horrified when 
the pieces become 
loose and are scattered on the floor. 

The performer now secretly takes out the long 
slip of c a m- 
bric from un- 
der his waist- 
coat when, 
having turned 
to the left, he 
stoops down to 
pick up the 
pieces of cam- 
bric from the 
floor. When 
he h a s taken 
the first piece 

h e puts i t i n figure 39. 




A LESSON IN MAGIC 381 



his left hand placing it over the bundle. He con- 
tinues to pick up the pieces, and when he has got 
them all in his left hand he apparently squeezes them 
tightly together and hands them to the boy with the 
request to try again. Before doing this, however, 
the conjurer secretly takes off the pieces with his 
right hand and, reaching to his pocket, deposits them 
there, and takes out his own handkerchief. 

^'Now, then," says the conjurer, ''let us try again." 

He hands the boy the bundle consisting now of 
the long strip only and proceeds to illustrate with his 
own handkerchief how the boy should rub it between 
his hands. The boy rubs what he and the audience 
believe to be the pieces between his hands and, of 
course, when he is asked to see how he is getting on 
with his lesson the long strip of cambric is disclosed. 
But before asking him the question the conjurer 
places the coloured handkerchief in his left sleeve 
and under cover of doing so disengages the key ring 
which is on his right hand cufif and puts it between 
the first and second fingers of his right hand. 

Getting hold of one end of the long strip with his 
left hand he places it just within the ring and holds 
it there with his thumb and proceeds to gather in the 
rest of the strip in equal folds. Having done this 
the conjurer pushes all the ends he is holding through 
the ring and runs the ring along to the centre of the 
hanging strip folded together. Turning to the left 
he shows it to the boy and, under cover of the move- 
ment and suitable patter secures the lemon from 
pocket E with his left hand. Bringing the hands to- 
gether in a natural sort of way he hides the lemon 




Figure 41. 



A LESSON IN MAGIC 383 



under the bunch of cambric in his right hand, Figs. 
40, 41, 42. 

The performer points out to the boy that his at- 
tempt to turn a handkerchief into a lemon has failed 




Figure 42. 



and informs him that he will try and do it with one 
hand. Accordingly he puts his left hand under his 
coat behind him and thus is able to get hold of the 
other end of the string which is attached to the weight 



384 



OUR MAGIC 



lying at the bottom of pocket. Now the conjurer 
waves his right hand up and down a little until he 
has pulled the string with his left hand enough to 
draw the key ring and folded strip just past the edge 
of his cuff. Finally the conjurer gives a sharp tug 
on the string which carries the rest of the bunch up 
his sleeve and leaves the lemon disclosed. With a 
quick turn of the hand the conjurer displays it to 
the audience. The conjurer puts the lemon on a 
plate and gives the plate to the boy to hold. He 
dictates to the boy a burlesque spell which the boy 
tries to repeat. While he is reciting this incantation 
the conjurer calls for a knife and goes to the side of 
the platform to get it. 

While receiving the knife from a hidden assistant 
there are two things to do secretly. The conjurer 
has to take the borrowed handkerchief from his 
pocket and hand it to the assistant and he also has 
to receive from the assistant a small piece of cambric, 
about four inches square. This is folded by taking 
hold of the centre and pulling the corners down, and 
in this condition it is laid along the handle of the 
knife with the centre towards the blade. The con- 
jurer takes hold of the handle of the knife in the 
usual way carrying the piece with him ready for the 
next phase of the experiment. 

With the knife the conjurer cuts open the lemon 
and invites the boy to pull out the handkerchief 
which the audience will believe to be the borrowed 
one restored. The boy is asked to return it to the 
lender but just as he is going towards the audience to 
do so the conjurer pretends to remember that after all 



A LESSON IN MAGIC 385 



the boy has not profited by the ^'lesson in magic," 
and asks him if he will try again. 

^'This time," says the conjurer, "we will attempt 
only a very simple piece of magic. I will show you 
how to cut a hole in a handkerchief and mend it 
again." 

The conjurer is still holding the knife in the right 
hand, and between the handle of the knife and his 
four fingers lies the folded piece of cambric. Hav- 
ing spread out the handkerchief and, while doing so, 
transferred the knife but not the miniature handker- 
chief to his left hand, he holds up the index finger 
of the closed right hand and tells the boy that one 
of the most important preliminaries is to find the 
exact centre of the handkerchief. Saying this, the 
conjurer throws the handkerchief over the right hand 
and, as it hangs from the tip of the upright finger, 
arranges it so that all the corners are level. By 
these means the exact centre of the handkerchief is 
found and the conjurer now nips the centre with the 
finger and thumb of the left hand and withdraws the 
right hand from beneath it and immediately places 
the fingers concealing the piece around the upper 
part of the hanging handkerchief so that the centre 
point of the folded cambric and the centre point of 
the handkerchief come together. The fingers and 
thumb of the left hand now nip both together and 
the right hand is drawn down a couple of inches. 
Now the handkerchief and piece are left in the right 
hand and the conjurer picks up the scissors from the 
table. But while he does this his right thumb slyly 
pulls down the point of the handkerchief from be- 



386 



OUR MAGIC 



hind the point of the piece. Directly it is gathered 
in behind the thumb the hand can be turned any way 
and the false piece seems to be part of the real hand- 
kerchief. Figs. 43, 44, 45. 

Handing the scissors to the boy the conjurer takes 

hold of the sup- 
posed point o f 
the handkerchief 
with the left 
hand and asks 
the boy to cut 
across the mate- 
rial between his 
two hands, thus 
apparently c u t- 
ting a hole in the 
middle of the 
handkerchief i t- 
self. This hav- 
i n g been done 
the mending 
process is begun. 
The cut edges 
are brought to- 
^ eether in the 

Figure 43. o 

name of a can- 
dle. When they are well alight they are rubbed 
together, which not only extinguishes the flame but 
appears to restore the handkerchief, which is shaken 
out whole. When rubbing the burnt edges together 
the conjurer has to screw them up and ^'finger palm" 
the small parcel while he opens the handkerchief. 




A LESSON IN MAGIC 387 



Once again the same movements are gone through, 
but no dummy piece is required. When the cutting 
is done the handkerchief is opened out for a mo- 
ment to show the hole (this time it is really there) 
before the restoration is attempted by the boy. Di- 
rectly t h e b y 
has set a light to 
the edges, they 
flare up because 
the handker- 
chief that was 
put in the 
lemon was pre- 
pared with a 
little spirits o f 
wine to make it 
burn easily. 
The boy is told 
to drop it and 
the conjurer 
must see that 
one of the plates 
is handy to re- 
ceive it. While 
the conjurer i s 
making vain 
attempts to put out the blaze with his fingers he also 
drops the little bundle of burnt pieces which have 
remained "finger palmed" the whole time. 

With a regretful air the performer now takes out 
his own handkerchief and, according to promise, sub- 
mits it to exactly the same process with precisely the 




Figure 44. 



388 OUR MAGIC 

same result. The burning handkerchiefs are extin- 
guished by putting the plates together as described. 
Then the conjurer remarks that the least he can do 
is to make a present of the remains of both handker- 
chiefs to the lender of the white one. Thereupon he 
tears ofif half a sheet of newspaper (which is the pre- 

pared one) 
empties the 
burnt pieces 
into it and 
screws it up 
into a round 
bundle. This, 
o f course, i s 
refused by 
the lender o f 
the handker- 
chief and the 
conjurer p r e- 
tends to be in 
a dilemma. 
Eventually h e 
remembers a 
spell for the 
Figure 45. occasion and 

says it, and, 

breaking the paper, pulls out the handkerchiefs with 
the wrong centres. 

Throughout the experiment the conjurer has been 
talking, and every movement has been naturally led 
up to by words. By this time he will have found 
out the importance of arranging every detail of the 




A LESSON IN MAGIC 389 



"patter" in such a way that the spoken word coincides 
with the action it describes. 

If the talking has been well and properly done 
roars of laughter will greet the appearance of the 
"Sun and Moon" — as the centres wrongly restored 
are called by conjurers — and the performer becomes 
more and more confused and, to smooth matters over, 
proposes a glass of wine. He gives the handker- 
chiefs to the boy who is now asked to sit in a chair 
well forward on the platform and on the conjurer's 
left. Remarking that fortunately he can offer the 
owner of the mutilated handkerchief a glass of excel- 
lent claret — or it may be port — the performer un- 
corks the bottle and takes it forward with a couple 
of tumblers in which he empties about half the con- 
tents of the bottle. (Therefore about a quarter of 
each tumbler is filled.) Pledging the gentleman's 
health and promising never to repeat the offence the 
conjurer proceeds to drink the wine and thus empty 
his tumbler ready for the next part of the feat. This 
provides against the event of the gentleman not car- 
ing to imbibe his portion; whether he drinks or not 
the tumbler which he holds is allowed to remain with 
him until after the experiment is finished. 

The conjurer now appears to have suddenly 
thought of a new idea, and he informs the audience 
that he will try once more to bring the Lesson in 
Magic to a more desirable conclusion. 

Handing the gentleman the bottle he asks him to 
see how much wine there is in it. "If there is about 
half a tumbler full," says the conjurer, "we can be 
assured of success." Leaving the bottle where it is 



390 



OUR MAGIC 



the conjurer gives the empty tumbler to the boy and 
he is instructed to roll the white handkerchief inside 
the red one, and put both in the tumbler. Going 
back to the gentleman — who has probably been hold- 
ing the bottle up to the light, etc. — and pretending to 
be most anxious as to the quantity of wine left in the 
bottle, the conjurer finally takes it back to the stage 
and places it on the table. Then, picking up the 
remaining sheet of newspaper from the same table he 
holds it out in front of him as though judging its 
suitability for the purpose he has in mind. 

The conjurer stands in front of the table, and his 
body and the spread out sheet of newspaper effec- 
tually hide the bottle for a few seconds. If the audi- 
ence could see through these opaque substances they 
would see a hand come through a carefully made slit 
in the curtain hanging immediately behind the table. 
The hand grasps the bottle and takes it through the 
slit and then again appears with a duplicate bottle 
which is put in the same place. This duplicate bot- 
tle contains two handkerchiefs, one of them being 
the genuine borrowed one. The conjurer walks 
over to the boy and presses the sheet of paper over 
the tumbler which contains the handkerchiefs, which 
the boy is left to hold. 

The magician proceeds to perform some mystic 
passes between the bottle and the boy, using the knife 
as a magic wand. Then, handing the knife to the 
boy, he asks him if he sees anything peculiar about 
it, such as a green light reflected in the blade. 

In order to take the knife, the boy, who has been 
told to hold the tumbler carefully with one hand 



A LESSON IN MAGIC 



and the paper on the top of it with the other, will 
probably take his hand from the paper. 

'^Never mind," says the conjurer, '4et us see 
whether anything has happened." Grasping the 
tumbler by the rim through the paper he takes it 
away from the boy and, putting his left hand under- 
neath the paper takes hold of the glass. Then, un- 
covering the glass by taking away the paper with 
the right hand he shows it to be now half full of 
wine. The handkerchiefs have vanished! 

This surprising transformation is brought about 
by the following simple means. When the con- 
jurer handed the knife to the boy he turned his left 
side away from the spectators and his left hand 
dropped down to the pocket G and caught hold of 
the prepared tumbler. When the right hand 
brought the tumbler and the newspaper near enough 
the left hand quickly carried the covered tumbler 
of wine under the newspaper, which had purposely 
been left spread out for this purpose. When the 
right hand uncovered the glass of wine by taking 
the paper away it also took the tumbler containing 
the handkerchiefs and the cover from the duplicate 
glass. 

To do this the conjurer, using his right hand, must 
grasp the rim of the "handkerchief" tumbler through 
the paper in such a way that his first finger and 
thumb are left free to nip the cover on the "wine" 
glass and pull it away. This also has to be managed 
through the paper. The moment the glass of wine 
is exposed to view the conjurer hands it to the boy 
for examination and carelessly crumples up the paper 



392 



OUR MAGIC 



in which the other tumbler (containing the hand- 
kerchiefs) and the top of the ''wine" tumbler remain 
hidden. The crumpled up bundle of paper should 
be laid aside with apparent carelessness, and if the 
performer pays no more attention co it than he 
would give to an ordinary piece of newspaper that 
he had thrown away no audience is likely to show" 
any desire to investigate it. At the first performance 
of this deception the bundle of paper evidently 
seemed quite ordinary, for the servant who cleared 
up the room threw it into the dustbin without open- 
ing it, and the glass and handkerchiefs were never re- 
covered. 

The two handkerchiefs are now discovered in the 
bottle in place of the wine. The performer lifts the 
bottle by the neck and before smashing it taps it in 
several places with the hammer. This convinces 
everyone that it is a genuine glass bottle. It is as 
well to break it over the plates and to ask the boy 
to take the borrowed handkerchief back to the 
owner. The conjurer places his own in his sleeve 
or pocket and makes his bow. 



CHAPTER VI 



WITH BELLS. HOMING BELLS 

In this and the following two chapters we will 
give examples of efifects of the spectacular order of 
conjuring feats, which may be given in dumb show. 
They will, however, be suitable only for the stage 
or platform, but we opine that they will be interest- 
ing because of the principles involved. 

Bells, the ''oldest form of advertisement," have not 
been much favoured by conjurers, probably because 
of the noise that can be made with them. In pro- 
fessional parlance they ''talk" too much. This very 
quality is turned to advantage in the experiment we 
are about to describe, and it forms the puzzling part 
of the feat from the onlookers' point of view. 

Four sleigh bells are hanging on ribbons in the 
centre of the stage, as seen in the picture. Fig. 46. 
The performer goes behind the ribbons, bunches the 
bells together and rattles them, (i) He then de- 
taches them, (2) and carries them to the table seen on 
the right of the photograph. He lays three bells on 
the table and retains one in his right hand, (3) which 
he shakes violently, so that the bell makes a good 
deal of noise. Then he suddenly throws the ringing 
bell towards the ribbons and — ping! — it becomes at- 
tached and pendant to the ribbon, (4) the colour of 
which had been announced previously. He proceeds 

393 



394 



OUR MAGIC 



in the same way with the other three bells (5) and 
they all appear to fly — still singing, as it were — from 
the magician's hands to the points of the hanging 
strips of silk. 

Mr. Oswald Williams, having obtained permission 
to copy this effect — a rare courtesy amongst profes- 




FlGURE 46. 



sional conjurers, we are sorry to say — elaborated the 
feat considerably by having a number of bells of 
different tones and picking them up and throwing 
them at the ribbons so quickly that they rang out a 
tune. Each bell sounded a note of the first few bars 
of "Home, Sweet Home," as it reached the ribbons^ 
This was a very pretty addition, especially for a 
"dumb" show. 



HOMING BELLS 



395 



For the benefit of those who prefer speech we may 
as well include the ''patter," as given. There is very 
little of it, because as we have said, the whole effect 
is meant to be a sort of hors d'oeuvre to one's pro- 
gramme of other dishes. Here, then, are the 
words : — 

"My next experiment is with bells. Bells are 
very difficult to conjure with, because one has to de- 
ceive the ear as well as the eye. It would be much 
easier if one used dumb bells, but then, of course, 
it would not be the same experiment." 

By this time the bells are gathered from the rib- 
bons and are being placed on the table. 

''Each of these bells has a different tone, and I can 
easily tell to which coloured ribbon it belongs. For 
instance, this one belongs to the pink-un ; it has quite 
a different tone from any other pap — ribbon. Now 
please watch this tinkling bell. You can see it and 
hear it wherever it goes. (Here it is thrown at the 
ribbon.) I thought it belonged to the pink. You 
see, these magic bells are trained like homing pi- 
geons. Will someone choose a colour? Red? 
Very well. (Picks up a bell, rattles it and throws 
it.) I rather like this myself. Now there are two 
left, blue and yellow. Which shall I dispatch first? 
The blue bell. Good. There it goes (picking up 
the last) . You know I think this is quite charming 
— to see pretty bells getting so quickly attached to 
smart beaus (bows)." (The remaining bell is 
thrown.) 

Two attendants now enter and detach the ribbons 
from the scenery or walls, that is, one of them de- 



396 



OUR MAGIC 



taches the ends of the ribbons while the other holds it 
with one hand each side of the four bows to which the 
bells are hanging (6). Of course something much 
simpler than these ribbons could be devised for a 
drawing-room performance. For instance, a man 
might hold a strip of wood, round which the small 
bows of ribbon were tied. But we are describing 
items from a repertoire exactly as they exist, and in 
this case the ribbons are intended to give a touch of 
colour and prettiness to the feat. As the objects are 
quite small it becomes advisable to fill up the pic- 
ture if it is intended for stage purposes. 

In the days of Houdin and Anderson the stage was 
crowded with pretty things^ — or things which wxre 
considered pretty by early Victorians. Although 
Houdin, in particular, discarded tables draped to the 
floor he did not despise a long shelf at the back of 
the room represented by the scene. On this shelf 
stood all kinds of ornamental paraphernalia which 
was not used in his seances. But it served its pur- 
pose; it pleased the eye. Present day conjurers 
would be well advised to study the tout ensemble 
more than they appear to do at present, and although 
they need not crowd the stage with useless apparatus 
they can fill it with tastefully selected furniture and 
coloured fabrics, to give something for the eye to 
enjoy. They can have well arranged music to please 
the ear, and plenty of movement to satisfy the taste 
of most audiences, who like much to look at while 
they are listening. 

Any attendants or assistants employed must play 
their parts as well as the magician plays his own. 



HOMING BELLS 



397 



They must be thoroughly rehearsed in each move- 
ment that they have to make, and do what they are 
set to do with precision and smartness. Nothing 
must be left to chance in a magical performance. 
Everything conducive to enhancing the mystery of 
the illusions must be arranged with painstaking care 
and thought. This is one of the great secrets of all 
successful performers, and it is also the reason why 
an illusion with many people taking some part in 
it is a more difficult undertaking than a feat of 
magic that depends upon the performer alone. The 
complicated illusion demands much more knowledge 
of the business than the simpler feat. In the latter 
the performer can trust himself to carry out what 
he has arranged, but when assistants are required 
both his anxiety during the representation and his 
work of pre-arrangement are enormously increased. 

TRICKS OR DEVICES. 

The Tables. In the picture, No. 46, are seen a 
set of five tables. These are painted in imitation of- 
the Sheraton style. The square table on the left of 
the picture is especially prepared for this experi- 
ment. If the reader will turn to page 85 of ''Later 
Magic" he will find a description of a most ingenious 
table which has a top covered with black velvet. 
There are holes or ''wells" in the top, the edges of 
which are concealed by an embroidered pattern. 
The same idea, slightly modified, is applied to our 
table. Instead of the whole top being covered with 
velvet it is painted and French polished to match the 
rest of the table, but a square velvet mat lies upon it. 



398 



OUR MAGIC 



This is prepared in the following way. A square 
of wood having been neatly sawn out of the table 
top with a fret saw and laid aside for use when the 
mat is not required, four slips of wood are fastened 
underneath the edges of the square hole, and a square 
piece of deal is cut to fit in and lie on these slips. 
Four holes, each large enough for one of the bells 
to drop through quite easily, are now cut in the 
square of deal. Four tubular shaped bags of black 
velvet are then required. They must be glued on 
to the edges of the holes, flush to the surface, and 
must be of such a length that when the square of 
wood is in position the bottom of the bags do not 
quite reach the bottom of the box which forms the 
table top. The lower ends of these bags are closed 
by stitching them. Now a square velvet mat is 
made, an inch larger all round than the square of 
wood. This is embroidered with yellow^ or gilt 
braid with a suitable geometrical pattern which 
must be so arranged that four circles in the pattern 
coincide with the four holes in the wooden base. 
Lastly the velvet within the circles is cut away and 
the mat is glued on to the square of wood. The 
table top is eighteen inches square, and the table is 
two feet, eight inches in height. 

The Bells, There are nine bells of the familiar 
sleigh bell pattern, round in shape, with a loose metal 
ball inside the hollow sphere. For our purpose four 
of these balls must be extracted from four of the bells. 
Four more of the bells are used just as they are. 
The ninth bell is prepared in such a way that it will 



HOMING BELLS 



399 



ring or not ring, as required. It is managed thus. 
Cut off the top of the bell, leaving a hole about half 
an inch in diameter. Take out the bullet and at- 
tach a small wire ring to it. Then take a piece of 
stiff wire about one and a half inches long and bend 
one end into a ring, but before closing it insert the 
ring attached to the metal ball. The other end of 
the wire is to end in a small knob of brass. Starting 
from under this small knob, coil a piece of brass 
spring wire around the upright. The lower end of 
the spiral spring must be attached inside one end of 
a small brass tube, about three quarters of an inch 
long, and that end of the tube is then soldered over 
the hole in the bell. The result should be that the 
bullet is pulled up to the lower end of the tube by 
the tension of the spring, but a pressure of the per- 
former's finger tip on the projecting wire will force 
the ball down into the bell, where it has play enough 
to swing and strike the sides of the bell. When the 
pressure is released the spring pulls the ball up to 
the mouth of the tube inside the bell, and it is at once 
silent. The bells are about one and a half inches 
in diameter. 

The Ribbons, The ribbons are not merely as in- 
nocent as they appear to be. Apparently two lengths 
of ribbon of different colours, and ij4 inches wide 
are stretched across the stage, crossing each other 
diagonally. Four, differently coloured ribbons 
about one inch broad are apparently tied round these 
two in the centre. Each one is finished with a 
rosette or bow, from which hangs one straight loop 



400 



OUR MAGIC 



of the ribbon, about five inches long, and on the 
end of each of the latter hangs a bell. The smaller 
ribbons draw the larger together for i8 inches of 
their length and behind them is concealed a lath of 
hard wood^ i inches wide. The broad ribbons are 
tacked on to the front of this ; over them the smaller 
ribbons are tacked on to the upper edge of the lath 
by one end. The loose ribbon is then formed into 
a bow which is stitched on a cardboard foundation. 
These bows with the covered lath above must be 
large enough to hide completely the bells, which 
are hung behind them and enough is allowed to hang 
down from the middle of the bow and doubled so 
that the 5-inch loop is formed by tacking the end 
to the lower edge of the board behind the rosette. 
Before finally fastening it however, two little wire 
collars are threaded upon them, and to one of these 
links is fastened the bell that is to be hidden, and 
to the other the bell which is seen at the commence- 
ment of the trick. 

In the diagram (Fig. 47) showing a portion of part 
of the board the shape of the collars can be seen, and 
also the means used to suspend the hidden bell. It 
will be noticed that the S hook is replaced by an 
oval wire ring, and to this again is fastened a thin 
wire with a ring bent in it at each end. One of these 
rings is put between two small wire staples which are 
hammered into the board, and a wire hook passes 
through all three, namely, the staples heads and the 
loops of wire which carries the bell. The other end 
of the wire hook is formed into a loop through which 
a wood screw fastens it to the board sufficiently 



HOMING BELLS 



401 



tightly to prevent it moving unless pulled or pushed. 
There is also another loop formed in the middle of 
this wire hook, and a thin cord attached to it. The 
cord is guided along the board by wire staples (the 
first of which acts as a step to which to pull the hook 
back), and along the back of one of the stretched 




Figure 47. 



ribbons, by silk loops, and finally through eyes 
soldered on to a metal plate fixed on to the end of 
the ribbon. The cord terminates in a button which 
is coloured to match the colour of the ribbon on 
which the bell will appear when that particular line 
is pulled by an assistant at the side. It will be ob- 
vious that when the hooks are pulled back by the 
lines the bells drop instantly by their own weight and 
the collars slide with them down the further side of 



402 



OUR MAGIC 



the ribbon loops. Each one comes to rest at the 
bottom of the loop and behind the collar that is al- 
ready there. In this way the bells appear to attach 
themselves instantly to the very loops from which the 
audience saw the other bells unhooked. 

PREPARATIONS. 

The four ordinary bells are arranged behind the 
board as described and the four silent bells, which 
must be provided with ordinar}^ S hooks, are hung 
on the collars on the shorter ribbons. The trick bell 
is finger palmed in the right hand. The end of 
each of the broad ribbons is sewn round a piece of 
tube with collars to prevent it slipping ofif. These 
tubes act as reels, upon which the ribbons can be 
wound when not in use. They are also made to fit 
on to upright spindles fixed on metal plates which 
can be in turn fixed in suitable positions — for in- 
stance, behind two wings. In setting, the ribbons 
can be kept taut by putting two of these tubes on the 
spindles on one side, and only unwinding the ribbons 
from the other two sufficiently to slip them on to the 
opposite spindles by stretching the ribbons. 

INSTRUCTIONS. 

(1) The performer goes behind the bells and 
gathers the four short ribbons together and shakes 
them. This shakes and rings the concealed bells, and 
those that are in view clang together. 

(2) The conjurer unhooks the bells with the left 
hand and holds the dangling ribbons with the right 
hand, which holds the trick bell. The first three 



HOMING BELLS 



403 



bells are transferred to the right hand as soon as they 
are detached, and the shaking of the ribbons is con- 
tinued to keep the concealed bells ringing, but it is 
diminished in vigour as each bell is detached and 
stopped altogether as the last bell is taken away. 

(3) The right and left hands are brought together 
and the bells are allowed to clang together as they 
are carried to the table. As they are laid on the 
table one of them is allowed to drop into one of the 
wells, and the other three are deftly placed so that 
each is in front of one of the empty wells. There 
must be no appearance of placing them, however. 
Apparently, the performer must be simply separating 
them. The trick bell is now brought into view and 
is rung by holding the small tube by the thumb and 
the second finger of the right hand while the first 
finger presses the knob downwards. 

(4) With the action of throwing the bell towards 
the ribbons the forefinger is upraised and the second 
and third fingers are simultaneously curled round 
the bell. Then the first finger is hooked round the 
wire plunger and the thumb releases its hold and is 
stretched outwards. In short, the bell is transferred 
from the position needful for the ringing to the 
finger palm, and the movements are all very nat- 
urally covered by the throwing action. Some excla- 
mation such as "Go!" is given at the instant that the 
bell would leave the hand if it were really being 
thrown, and this word is a cue to the assistant to pull 
the line in connexion with the coloured ribbon an- 
nounced by the conjurer, and thus release the hidden 
duplicate. 



404 



OUR MAGIC 



(5) The conjurer now reaches to the table, which 
should stand near him, and apparently picks up one 
of the remaining bells. In reality he merely pushes 
it into the velvet well under cover of his hand, and 
then immediately brings the finger-palmed trick bell 
into view and repeats the process described above. 
The same ruse gets rid of the other two bells, but 
when the trick bell is finger-palmed for the last time, 
in the act of apparently throwing it at the ribbons, 
it is dropped from the right hand to the left under 
cover of the body, and the left hand quietly lets it 
fall into pocket E, and thus disposes of it altogether. 

(6) The attendant who takes hold of the ribbons 
at each side of the four hanging bells is careful not 
to expose the board, and as soon as the other assist- 
ant has detached the larger ribbons he allov>^s the 
board to hang down from one hand, gathers the loose 
ribbons towards it, and carries off all in a bunch to- 
gether. 



CHAPTER VII 

WITH FLAGS. THE NATIONAL COLOURS 

Our last chapter gave an opening effect with bells, 
objects which, like umbrellas, are very little used by 
conjurers. We do not mean to say that conjurers 
never use umbrellas for protection in wet weather, 
but that they seldom exercise their magic art upon 
them. We know of only one illusion with an um- 
brella, but we could enumerate dozens of feats of 
magic with flags. These rank with cards, balls, silk 
handkerchiefs, watches and rings as being convenient 
— we may say conventional — articles with which to 
conjure. 

We are reminded to refer the reader to Professor 
Hoffmann's book "Later Magic" for other selections 
from the repertoire with which we are dealing here. 
These references are: — 'With Silk Handker- 
chiefs, page 303. With a Jar of Water and a Hat, 
pag^ 538. With Rings, page 544. With a Flag, 
page 361." If the reader will turn to page 357 he 
will find there a footnote referring to the very ex- 
periment which we propose to discuss in this chap- 
ter. We are going to disclose the secret of the meth- 
ods adopted to handle the same sort of telescopic 
staves that Professor Hoffmann has described in 
every detail on pages 353 to 357. We will ask our 

405 



4o6 



OUR MAGIC 



students to read that carefully written description 
and to treat this chapter as supplementary to it. 

We have selected this item for one of our chapters 
because we believe that the difference between the 
disclosure of the secrets of the apparatus as given 
by Professor Hofifmann and the record of an indi- 
vidual artist's manipulation of that apparatus will be 
interesting and particularly instructive to the begin- 
ner. 

The effect obtained is instantaneous and startling, 
and it is capital as a finishing experiment. The au- 
thor of it began by lighting a small piece of tissue 
paper at a candle and showing both hands empty. 
Pulling up his sleeves he smothered the paper by 
bringing his hands together over it (i). Immedi- 
ately taking his hands away he disclosed a bunch of 
coloured silks. Shaking them out, one by one, he 
showed that they were silk flags of various countries 
— France, Austria, Russia, Holland, Spain, but 
neither Great Britain nor America were represented. 
The flags were shown to the audience one at a time, 
named, and taken in the left hand. The fingers 
grasped a corner of each flag. In this manner the 
flags were taken down to the audience who were in- 
vited to convince themselves, by sense of touch, that 
the silks were real (2). Holding the flags at arm's 
length the conjurer then returned to the stage. Fac- 
ing the audience he put the fingers of his right hand 
under the flags which were still hanging in his left 
hand and instantly threw both arms wide apart, and 
in each hand was seen an eight foot staff, with a 12 



THE NATIONAL COLOURS 407 



ft. by 8 ft flag ^ on each (3) . One was the Stars and 
Stripes; the other was the Union Jack. The effect 
invariably brought a round of applause so prolonged 
that the curtain was raised again and again — a rare 
compliment for a conjurer. 

TRICKS OR DEVICES. 

(a) The small flags — four or five are enough — 
are crumpled up into a compact parcel, with all the 
corners inside, and the black part of the German flag 
outside. This part should match the performer's 
own coat, and can even be of the same material. 
When it is made, the parcel should be about the size 
and shape of a small tumbler. It is secured with a 
broad band of black tissue paper, fastened with seal- 
ing wax, but no colour must be visible in any part of 
the bundle. The bundle is placed under the left 
arm-pit; while the arm is kept fairly close to the 
side the parcel appears to be part of the coat. 

{b) The telescopic staves are closed up, and the 
flags are folded in the following way. First, they 
are folded in pleats, the folds of which depend upon 
where the flag is fastened to the stave. Then, with 
the flag, laid flat on the floor, similar accordion 
pleats are made across the others, but when about 
two-thirds of the flag is folded it should be rolled 
tightly up to the staff. Secure it temporarily by 
some means. Arrange the second flag in the same 
manner and, having done so, hold them together 
with the butt ends pointing opposite ways. Then 

^ The sizes were altered after Prof. Hoffmann wrote. 



4o8 



OUR MAGIC 



secure them by a band of tissue paper of two or three 
thicknesses wound round the centre and fastened wdth 
sealing wax. The ends of the handles should stick 
out a couple of inches or so at each end of the bundle, 
because v^^hen the two rolled up flags are put side 
by side they are not kept level with each other. 

If the handles at each end of this compact and 
easily handled load be grasped by the right hand 
above and the left hand below, and the hands be 
then thrown vigorously apart, the paper will burst, 
the flags will unroll and unfold and the staves shoot 
out to their full length. All this is done so quickly 
that the eye cannot follow the movements. 

One other little detail we have forgotten to 
mention. Two pieces of old silk flags are wrapped 
over the flags after they are rolled up. The ends 
of these pieces are secured under the paper band 
and the centres of them are over the handles, which 
are grasped through them. 

{c) We have already described a set of imitation 
Sheraton tables. One of those with a round top is 
used for the experiment. A black velvet mat lies on 
the table. If it were lifted up one would discover a 
hole in the centre of it, three and a half inches in di- 
ameter. To the edge of this hole is attached a tube 
2 inches deep, and the velvet on the top of the mat 
is carried over the edge of the hole and covers the 
inner side of the small tube as well. The whole of 
this supposed mat is made of cardboard covered with 
velvet and trimmed with bullion or silk. Behind the 
hinder legs of the table would be discovered a tube 
made of zinc, i6 inches long, closed at one end. 



i 



THE NATIONAL COLOURS 



The other end is open — 4 inches in diameter, and 
round the edge of this opening is a half inch lip or 
flange which rests on the table top when this tube 
is passed through the hole cut in the table top to re- 
ceive it. There is a slot cut at one point of the edge 
of this hole, which allows a pin soldered on the out- 
side of the larger tube to pass through to the under- 
neath side of the table. When the tube is dropped 
in, it is twisted to carry the pin away from the slot 
and thus prevent the tube being lifted up. A plug 
of wood to match the table top and exactly fit the 
hole may be kept for use when the table is needed 
as an ordinary table. 

PREPARATIONS. 

Knock the plug of wood out of the table and drop 
in the tube. Twist it and drop the prepared mat 
over the tube and fit the latter to the table with 
three small screws. Then insert the prepared parcel 
of large flags on staves. On the top of them lay a 
small piece of black velvet as flatly as possible. On 
the mat place a candlestick with a lighted candle. 

The small bundle of flags is put under the left arm, 
and a small sheet of tissue paper is held in the hands. 
This gives an excuse for keeping the elbows close 
to the sides. 

INSTRUCTIONS. 

(i) As the conjurer advances to perform the ex- 
periment the attendant brings forward the table os- 
tensibly to put the candle within reach of the per- 
former. Having screwed up one end of the paper 



OUR MAGIC 



the conjurer holds it in his left hand, and, turning to 
the right, takes the candlestick from the table and 
applies the light to one corner of the paper. Then 
he replaces the candlestick on the further side of the 
table, leaving the mat clear. 

Holding the paper upright, so that it burns 
slowly, the conjurer takes it by the twisted end in 
his right hand and runs his left hand along the under 
side of his right arm, from the cuE to the armpit, 
dragging up the sleeve at the same time. Taking 
the paper from the right hand with the finger and 
thumb of the left and, in doing so, showing the 
hands are otherwise empty, the conjurer pulls up 
the left sleeve in the same way. When the hand 
reaches the bundle the arm is raised, the end of the 
bundle is clipped by the fingers, and the hand very 
quickly makes the return journey and, under cover 
of the arm, conveys the ^'load" to the other hand, 
where it is immediately clapped over the flaring 
paper. 

For an instant the hands are held together with 
the bundle between them. In that moment the paper 
is broken by a squeeze and when the hands are 
opened the silks are allowed to expand and are 
shaken and pulled until the colours are showing. 
The right hand does the work while the left hand 
holds the flags (Fig. 48). 

In order to display the flags the conjurer pulls 
one away from the rest and spreads it out, using the 
fingers and thumbs of both hands, but still grasping 
the bunched-up flags with the other fingers of the 
left hand. 



THE NATIONAL COLOURS 



Having exhibited one flag thus, he lets go of the 
right hand corner, transferring his hand from the 
corner to the middle of the upper edge and lays — 
or rather drops — it on the table so that the same 
upper edge covers the hole in the mat. When he 
has repeated this movement with each flag shown, 




Figure 48. 



except the last one which, after it has been spread 
out, is retained in the left hand, he picks up the 
flags from the table in the reverse order. He does 
this by catching hold of each one with finger and 
thumb of the right hand at about the middle of 
the upper edge. He puts the flags in the left hand 
just as they hang, but when it comes to picking up 



412 



OUR MAGIC 



the last one the finger and thumb also catch hold of 
the large bundle by one of the projecting staves and 
carry it under cover of the flag to the other hand, 
where both are placed behind the other hanging 
flags. It will not be found difficult now to hold the 
flags so that they completely hide the bundle which 




Figure 49. 



hangs in the midst, nor to allow the silks to be 
touched by ladies to feel that it is real silk and yet 
not disclose the presence of the concealed ^'load" 
(Fig- 49). 

(2) The above audacious procedure not only mis- 
directs the minds of the audience completely but 
gives an opportunity for the assistant to take the table 
away without being noticed, so that when the de- 



THE NATIONAL COLOURS 413 

nouement is reached, no clue is left to suggest a 
possible hiding place. 

To produce the flags as described simply grip 
the top handle through all the loose flags and also 
the piece of velvet which is still there, and with the 
right hand grasp very quickly, but firmly, the bot- 




FlGURE 50. 



tom handle, taking care not to catch hold of any of 
the loose flags as well. When the hands are pulled 
apart the one hand takes one of the big flags, all 
the small flags and also the covering pieces of silk 
and velvet, while the other hand carries away the 
other large flag and one of the covering pieces, and 
the broken paper band usually drops to the floor un- 
noticed (Fig. 50). 



CHAPTER VIII 

WITH LIQUIDS. THE THREE VASES 

The experiment we are about to describe ranks with 
Homing Bells, inasmuch as it is an effective open- 
ing number for a programme of magical problems. 
It may be interesting to trace its evolution, and thus 
strengthen our argument that a comparatively new 
and original feat may be created from old material, 
which may be so completely redressed that even 
those who are quite familiar with the plans of the 
former foundations will gaze upon the rebuilt edi- 
fice and admire it as a fresh design. 

What conjurer has not heard of the Egyptian 
Pyramids? We do not refer to the colossal monu- 
ments of ancient Egypt, but to the feat of magic 
described under that title at pages 378 of ^'Modern 
Magic" and 375 ''More Magic," both of which 
volumes our readers will doubtless have at hand. 

We have warned our readers against repeating 
hackneyed effects for the mere sake of exhibiting im- 
provements in the methods used for producing them. 
We submit, however, that in this case the feat, which 
may have been overdone at one time, has been 
neglected by at least two generations of conjurers 
and therefore there was a reasonable excuse for 
showing a new version. 

We will presume that Professor Hoffman's de- 

414 



THE THREE VASES 415 



scriptions in the books to which we have referred 
have been carefully read by those who are perusing 
these pages, and we will now describe the efifect 
which was suggested by reading those explanations. 

The curtain rises disclosing three assistants, each 
of whom is holding a large glass vase with a glass 
lid. The vases are similar to those used by con- 
fectioners for displaying sweets or biscuits in shop 
windows, or on the counters. They may be of any 
size in proportion to the size of the room or hall. 
Those we use are of the shape seen in Figure 52, 
and are made of transparent glass slightly cor- 
rugated. 

On a table at one side is a bottle of wine, an or- 
dinary quart claret bottle, and on another table on 
the opposite side is a jug holding a couple of pints of 
milk, also a flag on a stick. 

The performer on entering takes the bottle of 
wine from the table and calls the attention of the 
audience to it. ^'Here is a bottle of ordinary wine," 
he says, and then glancing at the label, adds, ^'very 
ordinary! I see that it is grocers' Burgundy." He 
takes one of the vases from an assistant — who has 
removed the lid — and adds: — ''And here I have a 
large vase or goblet. Goblet! How well it 
sounds! I pour the wine lavishly into the goblet f 
He empties the contents of the bottle into the vase 
and hands the latter to the assistant who replaces the 
lid, but, before doing so makes as though he was go- 
ing to taste the wine. Seeing this, the conjurer 
says, "I will give the wine to the man on this side 
then — only to hold, please," and then adds, apolo- 



4i6 



OUR MAGIC 



getically, speaking to the audience, "He's a new 
man." Having replaced the bottle on the table, 
the conjurer, crossing, over to the other table and 
taking from there the jug of milk, and the vase from 
the man on his right, proceeds: — 

"I have here a quantity of ordinary milk, that 
is to say, it is partly milk. I pour this into this. 
While I am pouring you will please notice that 
these are real liquids, and would be most difficult 
to get up my sleeve with any degree of comfort." 

Putting the empty jug back on the table the con- 
jurer takes the vase containing the milk and walks 
over to the man in the centre, who takes the lid 
off his vase. The conjurer pours the milk into it 
and then returns the empty vase to the man from 
whom he took it, who replaces the lid (i). In the 
same way the conjurer fetches the vase containing 
the wine and pours that into the milk and gives the 
empty vase back to the assistant, who replaces the 
lid (2). The man holding the mixture puts the lid 
on his vase. 

"Now you notice," the magician explains, "that 
I have shown you wine and milk and have mixed 
them together. I think you will admit that the ef- 
fect is good. I mean it is such a sweetly pretty 
colour; it looks like the blush of a negress." 

So far two facts have been made plain to the 
spectators. First, they have seen that the liquids are 
real liquids and, secondly, that the glasses are 
genuine enough to hold the liquids. Also, it has 
been plainly indicated that the wine was on the per- 
former's left and the milk on his right, before the 



THE THREE VASES 417 



mixture was made, and that the mixture is undoubt- 
edly in the centre vase. It is as well to mention here 
that the quantity of wine and milk provided is suf- 
ficient to almost half fill each of the side vases, and 
consequently the mixture nearly fills the centre 
one (3). 

The audience have, up to now, no idea of what is 




Figure 51. 



going to happen. They are simply watching and 
waiting. The conjurer picks up the flag from the 
table and instructs the men to walk forward (4). 
They accordingly do so, and the performer waves 
the flag. All this fills the scene with action. Evi- 
dently something is about to take place (Fig. 51). 
The spectators are requested to "Look at these 



OUR MAGIC 



four objects." The men mutely protest. '^I mean 
the vases and this flag (5) ; I wasn't referring to 
the other objects," says the conjurer. *'Are you 
ready? Go! Now you see the wine has gone back; 
the milk has gone back, and, here, in place of the 
mixture we have the flag." On the word ^'Go!" 
(6) the flag suddenly vanished from the stick; the 
milk and wine as suddenly appeared in their respec- 
tive vases, and the mixture turned into the missing 
flag, which is taken out by the performer, who shakes 
it out (7) and remarks: — ''I always use a Union Jack 
for this because it gets there every time." The men 
march away and the experiment is over. 

TRICKS OR DEVICES. 

The Vases. On looking at the picture of the ap- 
paratus (Fig. 52) it will be seen that there are three 
parts to be specially made, the two lids for the side 
vases, and the glass shape. The latter goes into the 
centre vase and forms a watertight compartment, fill- 
ing half the space of the interior of the vase. The 
flat side of this receptacle is painted black on the out- 
side, and, in practice, the blackened side appears to 
be that part of the man's black coat which is seen 
through the goblet, when it is in position for the 
illusion. 

Each lid forms a reservoir for a quart of clear 
water, and each is provided with a circular piece of 
celluloid which fits over the hole underneath the 
cover. The circle of glass surrounding the hole is 
ground slightly to prevent the piece of celluloid from 
slipping about when it is in position. A small pro- 



THE THREE VASES 419 

jection or tab is left on the celluloid disc. A metal 
eyelet is fixed to this tab and attached to it is a 
length of thread. To the other end of the thread 
is attached a light metal ring, large enough to slip 
easily on and of? the glass knob at the top of the 
cover. 

The flagstaif is made of brass tubing painted 




Figure 52. 



black. The flag vanishes through a slot cut in this 
and is taken quickly out of sight by a spring roller 
arranged in the following way: — 

The spring is coiled round a thin rod attached to 
a solid metal plug and is surrounded by a metal 
tube to which one edge of the flag is cemented. The 
spring is tightly wound by twisting the inner rod 
while holding the tube and it is prevented from un- 



420 



OUR MAGIC 



winding by a short sliding rod which runs from the 
plug to a hole in one end of the tube. This rod is 
carried back and turned at right angles and projects 
through a slot in the shorter part of the outer cas- 
ing which is made in two parts. The longer part 
has a slot its whole length. The plug is fixed in 
the smaller part of the tube, which is about six inches 
long and the longer length is passed over it, the 
hanging flag passing through the slot. The outer 
case is painted black and represents a stick. The 
great advantage of this arrangement is that the silk 
flag is carried quite out of sight and much more 
quickly than would be the case with an ordinary 
spring blind arrangement. 

PREPARATIONS. 

The hollow covers are filled by immersing them 
in a pail of water and putting on the celluloid discs 
under the water. They are, of course, kept in posi- 
tion by atmospheric pressure, and, with reasonable 
care they can be safely handled. The outside is 
dried. The rings on the ends of the threads are put 
on the knobs and the lids are put on the vases, 

A duplicate silk flag is tucked behind the glass 
shape, which is put into the centre vase and the man 
holding it is placed in such a position on the stage 
that the spectators at the extreme side of the audi- 
torium cannot see any part of the coloured material. 
The flag can be made into a bundle so that it oc- 
cupies only the centre part of the space behind the 
glass partition. 

The wine bottle is filled with a strong mixture of 



THE THREE VASES 421 



permanganate of potash and water, but the jug con- 
tains only ordinary milk. 

INSTRUCTIONS. 

(1) The conjurer leaves about half a tumbler of 
milk in the bottom of the vase ; that is to say, he does 
not pour quite all of it into the centre vase. When 
the man replaces the lid he takes ofif the ring at- 
tached to the thread and carries it down behind the 
vase, which he now holds by the stem and base with 
both hands. 

(2) The same procedure applies to the wine and 
the other man. 

(3) As a matter of fact the side vases are only a 
quarter filled, but appear to be half-filled. This is 
because the lower part of the goblet is so very much 
less in circurnference than the part nearer the lid. 
In the same way the centre glass appears to be filled, 
but it really contains only half the quantity it would 
hold because only the receptacle is filled. 

(4) While the side men are going forward each ' 
man inserts the thumb of his left hand into the light 
metal ring, which should hang just within reach of 
the thumb of the hand occupied in steadying the foot 
of the vase. The other hand grasps the stem. The 
man in the centre must advance only as far as is safe 
for the side view. He holds his vase in the same 
way as the others, but with his left hand reaching 
round the front of the foot. 

(5) At the words "This flag" the performer 
stretches out his left hand which holds the flagstaf¥ 
in such a way that the hanging flag entirely con- 



422 



OUR MAGIC 



ceals the centre vase for a second or two, but ap- 
parently without that intention. Under the cover so 
formed, the man twists the vase around, so that the 
receptacle is nearest his body, and the bunched-up 
flag faces the audience. 

(6) ''Go" is the cue for the two men at the side 
to pull the cords, which they do by jerking their 
thumbs sharply downwards. Thus the celluloid 
discs are pulled sideways, and the water in the lids 
immediately drops with a splash into the vases and 
instantly becomes coloured by the liquids left in the 
bottom of each vase. The men must appear as sur- 
prised as anyone, and must move the glasses a lit- 
tle, so that the audience see that the wine and milk 
are really liquid. At the same instant the performer 
pulls the catch on the staff and releases the spring 
roller, which takes the flag out of sight. He then 
takes the duplicate out of the centre vase, and, 

(7) He carelessly throws the duplicate over the 
centre vase, and thus effectually covers the whole 
vase, so that the man, having put on the lid, can 
turn and walk out with the others without disclos- 
ing the presence of the glass shoe. He also carries 
away the flagstaff. 



CHAPTER IX 



WITH A RABBIT, A BALL AND TWO HATS. THE SILVER 

BALL 

Given a couple of rabbits, a six-inch solid metal 
ball, a sheet of newspaper, a handkerchief, a lighted 
candle in a stick, and two ordinary hats, one of which 
is a commonplace bowler (or what the Americans 
call a ''derby" hat), and the other a silk topper, and 
add to these a feather boa which is borrowed from 
a lady among the audience, and what can a conjurer 
do with them? 

That is the question we wish to give an answer to 
in this chapter, and as our answer is fully prepared 
and is properly attested by experience as a suitable 
reply, we have no hesitation in putting it into cold 
print. 

Before proceeding we would like to call the at- 
tention of our readers to the desirability, merely as 
an exercise, of trying to evolve a feat of magic from 
this or a similar collection of articles. Probably they 
will discover that the resultant combination will take 
the form of a sort of triple transformation, a kind 
of general post. All the articles, having been dis- 
posed of in various ways, will be made to reassem- 
ble magically, or change places. The magician will 
quickly discover that, to bring about such a denoue- 
ment, all the knowledge he had acquired will be 

423 



424 



OUR MAGIC 



brought into play, because three or four distinct 
feats must be blended so as to appear as one be- 
wildering efifect. 

In picture, Figure 53, the performer is seen about 
to commence the principal part of the experiment, 
having already given both hats for examination and 




Figure 53. 



then, having magically produced the ball from the 
tall hat, he is seen about to drop the ball on a board 
which lies at his feet. He does this to prove the 
weight and solidity of the ball and thus enhance the 
wonder of its presence in the recently examined hat. 
He also strikes it with the hammer which lies on 
the board to prove that the ball is solid metal and 



THE SILVER BALL 



therefore not easily compressed or manipulated. 
The rabbit which is sitting on a table on the right 
of the picture had just been discovered in a feather 
boa. This was done while the hats were in the 
hands of the examiners. 

It will be noticed that all the appliances used are 
beyond suspicion. The feather boa was borrowed 
and has served its purpose to introduce, surprisingly, 
the rabbit, which is manifestly alive. The hats have 
been scrutinised and found free from trickery. As 
for the rest, the tables and chair, the candle and 
handkerchief, and the sheet of newspaper, they will 
be used in such a way that no one will have any 
reason to believe that they are anything but ordinary 
articles. It is therefore unnecessary to bore the 
spectators by offering them for inspection; in fact, 
it would be distinctly bad art to do so. It is excus- 
able to make an exception in the case of the metal 
ball, first, because it is an unfamiliar object and, 
secondly, because the surprise of the spectators will 
be increased by a knowledge of its undoubted 
solidity. That is why our magician takes care to 
prove that it is a bona-fide solid metal ball by drop- 
ping it on the small board with a resounding thud 
and striking it with a hammer. 

Having done this, the performer calls attention to 
all the appliances he is about to use — the ball and 
the tall hat. He puts the ball into the hat and lays 
both on the chair behind him. At the same moment 
he picks up the sheet of paper. This is the third 
article. Having unfolded it he spreads it over the 
table, from which he takes the rabbit. The rabbit 



426 



OUR MAGIC 



is the fourth article, and is placed on the sheet of 

newspaper. 

Now the performer picks up the tall hat and the 
ball and directs attention to the fifth article, namely, 
the lighted candle. He does this in a curious way. 
Blowing out the candle he hangs the tall hat on it 
like a huge extinguisher. He then disposes of the 
ball by putting it into the bowler hat, which it only 
half fills, and lays both on the chair, the hat on its 
side with the ball facing the audience. 

The hat which contains the ball is the sixth article, 
and the silk handkerchief we have mentioned is the 
seventh. This the performer shakes out and ex- 
hibits, and then, nipping it by the centre, with the 
four corners hanging down, lays it gently on the 
balanced hat, hiding as little of its surface as pos- 
sible. 

In actual practice this disposition of the various 
objects occupies only a very short space of time. 
Now things begin to happen! 

The magician takes the rabbit by the ears with 
one hand, and picks up the sheet of newspaper 
with the other. He walks forward to the footlights 
with the rabbit kicking behind the paper screen. 
Fig. 54. All movement of the animal is suddenly 
arrested by the performer crushing the paper and 
screwing it up into a ball about the size of an orange, 
which he tosses to the audience. 

The bunny has vanished but it reappears in a 
totally unexpected place. 

The bowler hat with the shining metal ball in it 
is picked up and held by the brim with both hands. 



THE SILVER BALL 



It is swung to and fro once, twice, thrice! The ball 
suddenly disappears and in its place is seen the rab- 
bit. The animal is taken out and put back on the 
table, and the felt hat is tossed down beside it, mani- 
festly empty, because the audience have had a clear 
view of all sides. 

But where is the ball? This question is credited 




Figure 54. 



to the nearest member of the audience by the decep- 
tionist, and is answered by his holding up the hand- 
kerchief by the centre with the right hand and after 
displaying the empty left hand, placing it beneath 
the folds of the handkerchief and immediately pro- 
ducing a lighted candle. He then drops the hand- 
kerchief and, lifting the silk hat shows the silver 



428 



OUR MAGIC 



ball balanced on the candlestick. Apparently it 
has usurped the place of the candle just discovered 
and now replaced; the solid ball is dropped with a 
resounding thud on the board. 

The combination ends, as it commenced, with the 
production of a rabbit. The conjurer confesses to 
the audience that he has used two bunnies, and asks 
them to admire the ingenious way that one has been 
packed inside the other. Then straightway he pulls 
a second living animal from the side of the first, in 
quite a casual sort of way, as though it were an en- 
core surprise — merely a side issue. 

Here is the ''talkee talkee" just as it was origi- 
nally written, with stage directions, to which are 
added the reference numbers to the instructions at 
the end of the chapter. 

''No conjuring entertainment is complete without 
hats, so I've borrowed two; one of them is my own. 
I would like someone to examine them. Will you, 
sir? And will you take this one, sir? You will 
see there is nothing inside it. There never has been 
much. IVe always worn it myself. 

"Now, may I borrow a lady's fur or feather neck- 
let — if there is a lady who happens to have one that 
is not pinned on. I know the best way — two pins 
at the back, isn't it? Thank you. Do you mind if 
I pull a little bit of this off? I mean this little 
flufify white piece. (Produces rabbit) (i). 

"The hats are empty, are they not? Thanks. 
(Takes hats and returns to stage, carrying the rab- 
bit in the tall hat. The felt hat is hung on the rail 
of the chair, centre) (2). 



THE SILVER BALL 



^'It was very kind of that lady to bring this rab- 
bit. Do you always wear rabbit round your neck, 
madam? (Takes rabbit out of silk hat.) Oh, yes, 
it's alive; it isn't a Welsh rabbit. (Places rabbit on 
table prompt side and to make room for it, takes 
candlestick and handkerchief to other table O.P. 
side) (3). You found this hat empty, sir? Did 
you look inside it? Really! I suppose you didn't 
notice this. (Takes out ball.) It's a sort of air ball. 
(Drops on board.) All the air outside. It's heavy 
(strikes with hammer), as heavy as a young wife's 
first cake, but it is one of the things that I am go- 
ing to use for this experiment — this solid ball, this 
tall hat (puts ball back into hat), this newspaper. 
(Picks up newspaper from chair and lays down hat 
with ball in it) (4) . There is nothing much in this ; 
it's an evening paper (lays newspaper underneath 
rabbit on table) . This little rabbit I will put on the 
newspaper (stroking the rabbit). No, you're not 
to read the police news; you're too young. (Any 
cause celeb re may be mentioned here.) Now for 
the experiment. (Picks up hat in right and ball in 
left hand) (5). This tall hat I am going to hang 
on this candle. (Blows candle out.) A curious 
place to hang a hat, but it's my own hat and I shall 
hang it where I like. (Hangs hat on candle) (6) . 
The ball I will put in the bowler hat. I want you 
to see that I really do put it into the hat and that I 
don't slip it up my sleeve. I will leave it here in 
full view. (Replaces hat with ball in it on chair.) 

"Here then, is my apparatus. This solid heavy 
ball, the little rabbit, and the tall hat on the candle. 



430 



OUR MAGIC 



There is one other thing I want to show you — this 
ordinary handkerchief, which I will fold, so, and 
lay on the top of the hat — so. (Does so) (7). 

"Now I want everyone to keep one eye on that ball, 
the other eye on this old hat, and another eye on 
this young rabbit. I am going to put this rabbit be- 
hind this newspaper for a moment. (Rabbit is 
taken in right hand, paper in left) (8). He is 
rather nervous ; he is very young and comes from the 
country. Now, look. Go! So much for the rab- 
bit. They don't mind this, when they're young. 
(Smacking the crumpled ball of paper.) Now, for 
the ball. That is rather m.ore difficult. (Picks up 
hat containing ball and swings it to and fro.) One, 
two, three, go! (Ball disappears and rabbit is seen 
in its place) (9). Here is the rabbit, but where 
is the ball? (Puts hat and rabbit on table.) That 
is pure curiosity, but I will try and satisfy it. In 
the first place I cover my empty hand with this hand- 
kerchief, and here is the lighted candle. Here, in 
place of the candle, is the ball (lifts hat) (10), still 
remaining absolutely solid. (Drops ball on board 
and replaces candle in stick.) 

"I will tell you how I did that. I had two rab- 
bits, but no one knew, because one was inside the 
other. (Second rabbit apparently pulled from the 
other) (11)." 

TRICKS OR DEVICES (FIG. 55) 

The ball itself is not so heavy as it appears. It is 
made of aluminum, and the board upon which it is 



THE SILVER BALL 



dropped is raised a little from the stage by its own 
frame and therefore acts as a sounding-board. 

A duplicate trick ball is provided. This is hol- 
low and is formed of two separate hemispheres. 
One is a little smaller 
than the other and is 
pivoted on it by a cou- 
ple of pins with wash- 
ers, so that it will lay 
inside the larger hemi- 
sphere but when re- 
volved will form half of 
what will appear to be 
a solid ball so long as 
the point of juncture is 
hidden. A small knob 
near the lip of one-half 
of the ball and a de- 
pression at the corre- 
sponding side of the 
other half form a suffi- 
cient catch to lock them 
together. When the 
semi-revoiution is made 
the projection is sprung 
into the niche. 

The smaller half has 




Figure 55. 



the silk lining of a bowler hat glued into it. 

The bowler hat has a lining similar to that fas- 
tened into the trick ball, and the hat used should 
have a crown into which the "larger half" of the 
trick ball will fit nicely. A little cotton wool is 



432 



OUR MAGIC 



fixed under the leather band of the hat to keep it 
puffed out a little, so that when the two half balls 
are in the hat, the edges, which should be just un- 
derneath the edge of the hat band, would not be 
noticed by a person looking into the hat. Also, the 
outer half of the ball should fit inside the crown suf- 
ficiently tightly to allow of the hat being dropped 
on a table, mouth downwards, without fear of the 
shells falling out. 

The table upon which the rabbit is placed has 
two specialities. The top is really a shallow box 
just deep enough to hold one of the rabbits. To 
this, access is gained by a triangular-shaped lid, the 
hinges of which are at the base of the triangle and 
at the front part of the table. The spaces between 
the edges of this flap and the table top proper are 
concealed by corresponding lines in the imitation in- 
laid pattern, and other lines in the design conceal 
another trap in the triangular board itself. This is 
cut near the base of the triangle and is therefore 
close to the front edge of the table. To construct the 
trap, which is intended for a special purpose, com- 
mence by cutting out a hole a little larger than 
the circumference of the silver ball. Then cut the 
round piece of wood taken out into half, and fix the 
two halves with spring hinges so as to form doors to 
the hole. The doors should be so made that they 
will open inwards by pressure and immediately fill 
the aperture when released. They are prevented 
fropi rising higher than the surface of the table by 
suitable stops or tongues fastened on the underneath 
side of each door. The two slats of wood seen in 



THE SILVER BALL 



the photograph are arranged to move laterally, and 
are drawn together by two rubber bands which pull 
them under the doors after they spring up into 
place ; in fact, they are a simple means of locking the 
trap after it has served its purpose. At the ends 
and in the middle of an imaginary line drawn across 
the table just in front of this trap, and extending 
just beyond its circumference, are fixed three small 
sharp pin points bent down, with the points nearly 
touching the table top, and pointing towards the 
front. 

The candle is really a short length of brass tub- 
ing covered with glazed white paper with a small 
^'well" at the top into which is put an inch of real 
candle. A light spiral spring is arranged in the hol- 
low candlestick of just sufficient strength to push the 
"candle'' upward, but when a weight, such as the 
metal ball, is put on the upper end of the tube repre- 
senting the candle, the spiral spring is forced down 
and the candle tube sinks down into the hollow 
candlestick, which it fits snugly. At the side of 
the candlestick turned away from the audience there 
is a slot, and a screw-head is fixed to the lower end 
of the candle-tube. This screw-head projects 
through the slot and forms a stop to prevent the 
candle-tube going too high. The top of the slot is 
just under the ornamental top of the candlestick. 
The same screw-head turned into a small opening 
cut at right angles to the slot, and at the lower end 
of it, locks the candle-tube when it is required to 
hold it down out of sight. 

A piece of wax candle the same length as the 



434 



OUR MAGIC 



candle-tube is required. The wick is taken out; a 
safety wax match, with the head up, is firmly fixed 
in its place by melting the wax of the candle round 
it after it has been pushed down to about half its 
length into the opening left by the discarded wick. 

At the back of the table, on the O.P. side, there 
is a hole cut in the hinder side of the box forming 
the table top, and just beneath the actual top. At 
the other side of this hole is a holder made of wire 
to receive the prepared candle, so that the wick end 
rests just beneath the table top edge and the re- 
mainder goes through the hole into the holder. In 
the centre of the silk handkerchief is firmly sewn a 
small square of the prepared wood upon which 
safety matches are struck. 

Three rabbits are used. Two of them must be 
duplicates, one small enough to go into the trick ball 
and the other small enough to go into the table top 
box. 

The seat of the chair is padded in such a way that 
a depression is formed near the back in which the 
trick ball can rest without danger of rolling out with 
any movement the rabbit may make inside it. 

PREPARATIONS. 

One side of the handkerchief is hooked on to the 
three bent pin points, and the handkerchief is then 
drawn backwards over the trap which has been pre- 
pared by pulling open the slats from underneath and 
pressing down the spring doors. The metal ball is 
now put on the handkerchief and allowed to sink 
down into the table, carrying the loose handkerchief 



THE SILVER BALL 435 



with it. The other half of the handkerchief is now- 
laid over the projecting half of the ball, and loosely- 
arranged so that it appears to be simply a crumpled 
handkerchief lying in a bunch on the table. The 
centre of the handkerchief is gathered together over 
the base of the trick candlestick which stands just 
behind, so that the thumb of the hand which grasps 
the stem of the candlestick will clip the centre of 
the handkerchief firmly against it and carry both 
away together. The candle-tube has been duly pre- 
pared with the small piece of candle, which is 
lighted just before the experiment commences. 

The duplicate piece of candle with the match wick 
is placed in its pigeonhole behind the other table. 

One of the duplicate rabbits is put into the trick 
ball, which is placed in the padded cup in the chair 
seat, with the larger hemisphere of the ball towards 
the audience. This is covered by the half sheet of 
paper, which is simply placed against the ball in the 
way shown in the photograph. 

The second duplicate rabbit is put in the pocket 
H behind the waistcoat buttons, with the head point- 
ing towards the performer's left, and the third ani- 
mal is disposed of in pocket D with the head towards 
the opening. 

The performer carries the two hats with him 
when he first walks on to the stage. 

INSTRUCTIONS. 

(i) Receive the boa in the left hand and bring it 
towards the right which is held quite close to the 
opening of the vest. The moment the boa covers 



436 



OUR MAGIC 



the right hand insert the fingers and pull out the 
rabbit by the ears. Take it smartly up to the boa 
and then, with both hands held away from the body, 
take the rabbit from under the covering boa and 
exhibit it. If possible, choose a boa of about the 
same colour as the rabbit to be produced. 

(2) The performer then carries the tall hat with 
the rabbit in it round to the back of the table which 
holds the candle. When he is about to take the rab- 
bit out he must be standing on the right hand side 
of the table and be holding the hat with the crown 
towards the audience and with the mouth of the hat 
about level with the ball, which is concealed under 
the handkerchief. 

(3) This is the most difficult thing in the whole 
experiment to do naturally. The performer picks 
up the candlestick and handkerchief together in the 
way described and by lifting them upwards and 
towards the tall hat rolls the ball into the hat with 
hardly a sound. The performer must do this with- 
out glancing at the objects; in fact, at the critical 
moment he ought to be looking directly at the audi- 
ence. When the ball is safely in the hat the per- 
former walks away from the table, thus bringing the 
handkerchief off the hooks. 

(4) Having placed the candlestick and handker- 
chief on the opposite table the performer transfers 
the hat from the left to the right hand and holds it 
mouth downwards while addressing the examinee. 
The ball is held in by the two fingers of the same 
hand. Then the hat is turned over and the ball dis - 
covered and taken out with apparent difficulty as 



THE SILVER BALL 437 



though it fitted tightly and was very heavy. When 
the ball is replaced in the hat it is laid on the chair 
for the ostensible purpose of leaving the hands free 
to deal with the newspaper. The left hand lays the 
hat on the seat of the chair crown outwards, just as 
the right hand begins to draw the newspaper up- 
wards, and not a second later; otherwise, the trick 
ball will be disclosed. Should a glimpse of it be 
obtained by spectators at the extreme sides, after the 
paper is withdrawn they will simply imagine it is 
the solid ball which has rolled out of the tall hat 

(5) The performer again holds the hat mouth 
downwards, holding in the ball as before with the 
two fingers. He holds the trick ball close to his 
body and carefully keeps the larger half shell facing 
the audience. The joint between the two shells is 
covered partly by his fingers curled round one side 
and by his arm in front of the other side. 

(6) When the hat is lowered over the candle the 
ball presses the candle down into the hollow candle- 
stick, and the hat is really balanced on the ball 
the diameter of which is the same, as the length of 
the candle. 

(7) The bowler hat is brought over the ball in 
the left hand, and the ball is pushed into the hat, 
while the crown of the hat is towards the audience. 
When the hat is laid on the chair the spectators are 
looking at the smaller half shell, which is now up- 
permost. The pins on which it revolves should be 
at the sides of the hat. 

The handkerchief is shaken out and held by the 
centre, with the striking surface outwards. It is 



438 



OUR MAGIC 



laid down on the table for a moment, so that die 
folded centre just overhangs the place where the 
piece of candle is hidden. A pretence is made of 
adjusting the balance of the tall hat on the candle 
and the opportunity is used for twisting the screw- 
head to lock the candle tube. When the right hand 
picks up the handkerchief again two fingers arc 
placed under the centre and bring the candle up 
hidden behind the folds, and thus concealed it is laid 
on the hat. 

(8) When the newspaper was laid under the 
rabbit the back edge of the paper was left only just 
overlapping the back edge of the table top. When 
the conjurer now lifts up the rabbit with the right 
hand and the paper with the left (he is standing be- 
hind the table) he also lifts the triangular flap, and 
when he lowers the rabbit behind the paper he really 
lowers the rabbit gently, but quickly, into the hollow 
box beneath. The moment the rabbit rests on the 
bottom of the box the conjurer's left thumb lets go of 
the lid which is caught by the right hand and noise- 
lessly closed over the rabbit. Now the paper is car- 
ried forward, as shown in the photograph, with the 
right hand still behind it, as though holding the 
rabbit. The fingers of that hand tap and scratch the 
paper and imitate the movements of the rabbit which 
is supposed by the audience to be there. 

(9) The bowler is taken in both hands with the 
fingers curled under the sides of the brim and the 
thumbs on the ball. When the hat is swung the ball 
is hidden for a second and the thumbs press the half 
shell round and force it to revolve. It passes neatly 



THE SILVER BALL 439 



under the rabbit which immediately sits up, glad to 
be released from its captivity. It is at once taken 
out and put on the table. 

(10) The performer lifts the handkerchief by the 
centre — of course holding the candle with it — and 
when he apparently puts his other hand beneath the 
folds he really places it behind them and, taking 
hold of the candle, strikes the match in the upper 
end on the card at the same side of the handkerchief. 
Then the performer lifts the handkerchief upwards, 
as though the candle had appeared in his hand while 
covered by the silk. 

(11) The conjurer now walks over to the oppo- 
site table and, during the journey, takes hold of the 
ears of the rabbit in the pocket — D — with his left 
hand. When he picks up the visible rabbit he 
brings the two hands together coolly and quickly. 
For a momentary exhibition the two animals will 
appear to be one, and when they are taken apart 
slowly the illusion is complete. 



CHAPTER X 



WITH FISH AND LETTERS. THE EDUCATED FISH 

HarTZ, a most painstaking and ingenious conjurer, 
used to say: Give me an idea, and I will find a 
trick to fit it. He realised that the plot of a feat 
of magic was all-important. When a story is good 
the plot is usually clear and easily described, and it 
is the same with an illusion. Furthermore, one can- 
not easily add to it, or take away from it; it is fitted 
together with such nicety that it must remain whole 
and unaltered or its beauty is marred. 

When we say this we refer only to the main idea 
and plot, not to the means used for the illustration 
which, in an illusion, may be controlled entirely by 
the author. For instance, in our version of "The 
Egyptian Pyramids," described in Chapter 8 we 
have not tampered with the original plot: *'Two 
different liquids are mixed together in one vessel, 
and are then magically separated and discovered in 
two other vessels." That is the plot, concise, easily 
understood, a complete tale of magic, which will be 
told and retold for generations. 

Here is another. "Catch money in the air, and 
find it everywhere." This also is a classical plot 
for an illusion. Mr. Nelson Downs presented it 
under the title of "The Miser's Dream," and intro- 
duced many new devices and clever manipulations. 

440 



THE EDUCATED FISH 



But, if we may be permitted a friendly criticism, he 
rather spoilt the interest of the story by adding to 
it a sort of appendix of coin manipulations, which 
seemed to be an anti-climax and a distraction. Such 
manipulations, admirably performed as they were, 
had no place in the original plot, and immediately 
following it as they did, tended to confuse the minds 
of spectators. People were left with the impres- 
sion that they had been witnessing an exhibition of 
marvellous dexterity; they had seen the King of 
Coins and his obedient subjects, but the mystery of 
the original legend was gone. True, they had seen 
a man making money, catching it in the air and find- 
ing it everywhere, but they had seen him do so many 
things with the same magically minted silver that 
the impression conveyed by the original plot faded 
from their minds and the performer became to them 
a coin manipulator, rather than a magician. 

At the commencement of his career as a public 
performer Servais Le Roy presented a very fine ver- 
sion of the '^Catching Money." He commenced in 
the usual way by catching coins one at a time and 
dropping them into a tall hat, but he finished by 
finding handsful of silver in the pockets of mem- 
bers of the audience. Surprised elderly gentlemen 
were asked to empty their pocket and they found 
fifty or sixty half-crowns at the bottom of it. They 
themselves poured the coins into the hat. The audi- 
ence were roused to a pitch of enthusiasm. Where 
does it come from? they asked each other, and none 
could answer. Here was a proper finish. The 
story was told in a way that listeners would remem- 



442 



OUR MAGIC 



ber. They were left with the rattle, the glitter and 
jingle, of money. Le Roy, having reached the 
climax, wisely went on with an experiment of quite 
a different nature. We ourselves give away real 
money to the audience, a convincing proof that we 
catch it easily, that we make it out of nothing. 

At the time of writing Owen Clark is practising 
a new way of presenting the same plot which will 
appeal to those who know it by heart. He has rev- 
olutionised the means by which the money is appar- 
ently caught. He will be able to show every side of 
both his hands slowly and deliberately, without any 
of those unnatural movements which adepts in 
sleight of hand are unfortunately too prone to make. 
As a matter of fact, he will not use any sleight of 
hand, because he has discovered a new trick for pro- 
ducing the illusion. At our suggestion he has also 
changed the receptacle into which the coins are 
dropped. A tall hat held in one hand has been used 
by conjurer after conjurer. Owen Clark will have 
a large clear glass bowl standing on a tripod of 
bamboo rods in the centre of the stage. He will 
catch coins with both hands and will toss them into 
the bowl, and thus he will tell the tale again. 

''How very rare a really new trick is," we hear 
people remark. We would reply that they are mis- 
taken. Novel tricks or illusions are comparatively 
abundant, but a new plot which at once appeals is 
indeed rare; in fact, very few such plots have ever 
been devised. "Fish spell words" is our plot for 
the illusion we are about to describe, and the title we 
give it is "The Educated Fish." 



THE EDUCATED FISH 



The appliances visible to the audience are a bell- 
shaped glass aquarium, set in a slender three-legged 
stand in the centre of the stage. The bowl is nearly 
filled with water and in the water are four live gold- 
fish. On the top of the glass aquarium is laid a 
sheet of glass upon which are placed, in little piles, 
twenty-six small wooden tablets. Upon each of 




Figure 56. 



these is painted a letter of the alphabet. A current 
copy of a daily newspaper, a small landing net, and 
a blackboard upon which are printed the words: 
"Paper, Page, Column, Line, Word," complete the 
equipment. (See Fig. 56.) 

When the performer comes forward to present 
the illusion he takes the sheet of glass from the top 



444 



OUR MAGIC 



of the glass bowl and two electric lights are directed 
upon it from the sides (i). This is what he 
says: 

^'I have here a number of wooden tablets. On 
each tablet is roughly printed a letter of the alpha- 
bet and each one is weighted at one end so that when 
the tablets are dropped into this aquarium — which 
I ask you to notice contains nothing but water and 
a few fish — they stand upright at the bottom of the 
bowl. Otherwise, they are unprepared pieces of 
wood, and they will be dropped into the bowl, one 
at a time, in front of you. (Hands glass slab with 
tablets to attendant who proceeds to drop them in 
such a way that the audience can plainly see them 
sink to the bottom and stand upright there) (2). 

"While that is being done I will ask members of 
the audience to choose a word from this newspaper, 
which is a copy of to-day's Daily Telegraph, with 
twenty pages of words. Will a gentleman choose 
one of those twenty pages? Just say which — num- 
ber 5? Very well. We will select a word from the 
fifth page of to-day's Telegraph, There are seven 
columns. Would you, sir, mind saying which of 
the seven columns we shall use? The third — very 
well. Now I will ask a lady to say how many lines 
we shall count from the top of that column and then, 
from that particular line I will ask someone to 
choose a word. Will you, madam, please say which 
line? How many? Seventeen? Will the gentle- 
man near be good enough to count them (takes paper 
down) and when you have found the line, sir, will 
you please select any word in which the letters are 



THE EDUCATED FISH 



all different, because I have only one set of letters 
to drop into the bowl. (Goes back to stage.) 

^T hope these preparations haven't bored you. I 
only wish to prove, as far as is possible, that the word 
used cannot be pre-arranged. (Goes to black- 
board.) In case anyone may wish to verify this for 
themselves afterwards I will jot down the particulars 
on this blackboard. (Writes Daily Telegraph, 
^fifth page, third column, seventeenth line.' Walks 
over to aquarium and takes up sheet of glass and 
net which attendant has left on top). 

''Now, in this aquarium there are four educated 
goldfish ; at least, two are fish and the other two are 
fishesses. I think myself that fishesses are really 
more intelligent than fish. The only difference be- 
tween fish and fishesses is that fish have votes. 

"Here is a solid sheet of plate glass which I lay 
over this, to prevent anything getting in at the top. 
You see it stands isolated from anything else on the 
stage. (Passes net handle all round and under) (3) . 

"Now, to prove how intelligent these fish are, I . 
will get them to spell the word that this gentleman 
has selected. Have you found one, sir? What is 
it? (Gentleman replies. We will assume that the 
word is 'bleat.') 

"Well, it was impossible for the fish to have 
known beforehand that the word was to have been 
'bleat.' (Writes it on board.) 

"Now Agnes — Agnes is the name of the stout 
fishess — Agnes, raise B. If you watch closely you 
will see how Agnes separates the letter B from the 
others and causes it to rise slowly to the surface of 



446 



OUR MAGIC 



the water. Look! (4) (Letter rises, is taken out 
with net and dropped on sheet of plate glass, which 
is replaced.) Now, Cuthbert — Cuthbert is that lit- 

tie chap with 

the cast in his 
eye — he brings 
up the next let- 
ter. Cuthbert, 
raise L. (Let- 
ter taken out as 
before.) Caro- 
line — the step- 
sister of Agnes 
— next letter, 
please. Quite 
right! Hora- 
tio, your turn. 
Horatio is a 
very clever 
fish, raise A. 
Now, one more 
lette r com- 
pletes the 
word. Agnes, 
your turn. If 
you do this 
nicely you 
shall have 
some nuts. 

B.L.E.A.T. There is the word correctly spelt. I 
think you will admit that my fish are intelligent. 
Sometimes they answer questions. Agnes, do you 




Figure 57. 



THE EDUCATED FISH 447 

want to spell any more. (N & O rise.) Agnes 
doesn't." (5.) 



TRICKS OR DEVICES. 

The aquarium is an ordinary bell-shaped glass 
bowl, without preparation, set in a special metal 




Figure 58. Figure 59. 



Stand. The three pictures. Figures 57, 58, 59, show 
every part of the stand and the secret receptacle upon 
which the illusion depends. In picture 57 we see 



448 



OUR MAGIC 



the bowl at close quarters, as set for the experiment, 
a back view of the same bowl in picture 58 and 
finally a side view in picture 59 and in this last pic- 
ture our principal device is fully exposed. 

To construct this a plate of tin is bent to fit the 
bottom of the aquarium and cover about two-thirds 
of the space. On this are fixed 26 metal boxes, each 
open at one end only, and of such a size that the 
tablets used can be slid in and out without friction. 
These boxes are arranged in two rows with 13 on 
each side, and it will be observed that a triangular 
space is left between them. Attached to the front 
of the series of compartments is a flat piece of 
polished metal, of such a shape that it fits the bottom 
and sides of the bowl, and when in position forms 
an upright partition between the part of the bowl 
in which the boxes rest behind it and the unoccupied 
portion in front of it. The top edge of this parti- 
tion is cut straight, and this straight edge must be 
at the same level as the larger of the two metal rings 
which support the bowl. When the whole thing is 
in position it should rest just below the top edge 
of the ring. As will be seen in Figure 57 the strip 
of metal reflects the water and glass in front of it 
and forms a perfect illusion, particularly as the sur- 
rounding ring just cuts ofif the view at the juncture 
between the real and the unreal. The spectators in 
front of the bowl will see nothing but what is appar- 
ently water and clear glass, while to those in the 
balconies above the view is the same because in their 
case the top edge of the strip is well concealed by the 
refractive qualities of the water. 



THE EDUCATED FISH 



The letters that rise are painted on paraffin wax 
tablets made in a brass mould, and they are exactly 
the same size as the wooden ones, namely, 2^ inches 
by 2 inches. They are about a quarter of an inch 
thick and are weighted at the bottom end with a 
few small shots to prevent them from rising too 
quickly. Before the tablets have the letters painted 
on them with white enamel they are coated with 
green anti-sulphuric enamel. When they are loaded 
into the boxes they are held down by small squares 




Figure 60. 



of lead fastened to small wire arms which, in turn 
are fastened to short lengths of tube which revolve 
on rods running on each side of the triangular re- 
ceptacle. (In Figure 60 we have a clear view of 
this minus the front piece.) To each of these is 
soldered a small ring, and to each ring is attached 
a black silk thread, which runs down through thin 
copper tubes which carry each thread, protected 
from entanglement with its neighbours, from the 
base of the boxes, underneath the metal plate, to the 



V 



450 



OUR MAGIC 



top of the curved edge at the back. The threads are 
then carried over the rim of the glass bowl and are 
guided by a series of small rings soldered on the 
back of the supporting metal ring of the stand. 
They are finally fastened to another series of rings 
at the base of the stand, and above each of these 
rings is marked (See Figure 58), a letter of the 
alphabet. These letters correspond with those on 
the metal blocks which are marked with the letters 
which are on the tablets underneath them. 

The stage is prepared by cutting a narrow trap 
or slot which can be closed from underneath. When 
open it is concealed by the strip of metal to which 
the threads are attached, and it is long enough and 
wide enough to allow the passage of a small hook 
— a common button-hook answers the purpose — with 
which the assistant pulls the threads as required. A 
slight pull is sufficient to turn the block over and 
away from any particular letter which is wanted to 
rise. The tablets shown to the audience are 
weighted with a slip of lead at one end, - heavy 
enough to prevent them from rising. 

PREPARATIONS. 

The receptacle is lifted out of the water, as in 
Fig. 59. The wax tablets are carefully placed in 
the marked boxes. Every precaution is taken against 
the threads being entangled or any obstruction being 
lodged between the tablets and the sides of the boxes. 

This having been done, the receptacle is gently 
lowered into the water without disturbing the ar- 
rangement. All the metal work should be nickel- 



THE EDUCATED FISH 451 



plated, and care should be exercised in choosing a 
suitable background for the threads which, of course, 
must remain invisible even to those who are seated 
nearest to the front. 

Footlights should not be used if they reflect in the 
glass, which they are apt to do and in that case the 
view of those in the balcony will be spoilt. 

The assistant should be provided with a dictionary. 

INSTRUCTIONS. 

(1) These arc lights are directed in such a way 
that the threads lying over the back part of the 
aquarium are not illuminated. 

(2) The attendant drops the first two or three 
tablets, with the letters facing the audience, in front 
of the metal partition. The next six or eight tablets, 
with the backs towards the audience, are dropped in 
front of these, so as to hide the letters completely. 
AH the rest of the letters are allowed to fall in the 
triangular space behind the partition. 

(3) The plate of glass will not interfere with the' 
pulling of the threads. The handle of the net is 
rattled between the back and front legs. 

(4) After dropping the tablets into the bowl the 
attendant goes beneath the stage and opens the trap. 
When he hears the word he looks it up in his dic- 
tionary — should he feel at all doubtful as to the cor- 
rect way to spell it — and then carefully takes hold 
of the right thread with his hook and, after a short 
pause, following the performer's words, pulls it. 
This process is repeated for all the other letters in 
the chosen word. 



452 



OUR MAGIC 



(5) The last efifect is omitted if either ^^N" or 
^^O" has been used, or the answer can be altered to 
^'Yes" by the performer giving the cue by putting 
his question in this form: ^'Are you sure you have 
spelt the word correctly?" 



CHAPTER XI 



WITH DOVES AND RATS. THE POINT OF VIEW 

The idea of our next experiment is this. ''A con- 
jurer demonstrates to the audience that they cannot 
believe their own eyes when magic rules the roost." 

The plot is as follows : Two doves are placed be- 
tween two straw hats and changed into rats, and the 
birds reappear in the wire cage from which they are 
taken. 

^^Not nearly such a good plot as the last chapter," 
our readers may remark, ''too overloaded. Why not 
simply 'Doves changed to rats.' Why the anti- 
climax?" Our readers will be quite right, but still 
we think that in this case the plot is married to an 
idea for an original scheme of patter, and that the 
twain cannot well be divorced. 

We will not attempt to twist about our work to 
suit our own theories. If all our results fitted our 
theories of course both would be beyond reproach. 
We are willing to admit that the present combina- 
tion is not one of those effects that have all the 
qualities of a really good plot such as, for instance, 
that of "The Chinese Rings" (solid metal rings that 
are linked and unlinked at will) or "The Inex- 
haustible Bottle" (any drink called for supplied 
from one bottle), or "The Magical Growth of 
Flowers" (Instantaneous Germination). These are 

453 



454 



OUR MAGIC 



plots for perpetuity, masterpieces of the magic art, 
monuments to their inventors, themes that lesser men 
will build reputations upon so long as there are 
wizards to bewitch the world. 

We will relate how the combination we are about 
to explain was suggested. Mr. Martin Chapender, 
one of the most promising young wizards we ever 
introduced to the public, was overtaken by death on 
the very threshold of his career. After this lamen- 
table event certain of his properties and pieces of ap- 
paratus came into our possession. Among them was 
a cage for the sudden appearance of two doves, in 
which a principle of our own invention was cleverly 
adapted. The cage was from the workshop of Mr. 
Henry Bate, who had designed and constructed the 
ingenious mechanical parts. Mr. Chapender un- 
fortunately used it only a few times at the Egyptian 
Hall. His manner of exhibiting it was as follows: 

The cage was hung up in the centre of the stage. 
Two doves were made to vanish, and when Mr. 
Chapender fired a pistol they appeared in the isolated 
cage. This was an effect of transposition that was 
being exhibited at the same time by many conjurers 
with canaries instead of doves. Mr. Chapender's 
version, however, was on a different principle from 
the others, and had the advantage of being done with 
larger objects. 

Now, having that piece of apparatus before us 
we cast about for a mode of presentation which 
would introduce it dififerently and, if possible, with- 
out calling direct attention to the cage as the prin- 
ciple object. We decided that the cage must appear 



THE POINT OF VIEW 



in its usual capacity, simply as a dwelling house for 
birds in captivity. 

Only a short time before we had actually seen 
a conjurer bring on a cage, take it to pieces, and 
put it together again and then cause two canaries 
to appear in it. He was quite proud of it and evi- 
dently thought it was a vast improvement on the 
procedure of the man he was imitating. This man 
brought on two canaries in a cage, took them out and 
put them in a paper bag. He then fired a pistol 
through the bag and the birds appeared again in the 
cage. 

In our opinion the conjurer who took the cage 
to pieces and carefully exhibited each section to the 
audience was not only giving himself a lot of un- 
necessary trouble, but was also almost telling them 
that he was using a mechanical trick in the cage, by 
directly calling attention to it in the way he did. 
He might just as well have said: ^'Here is the cage. 
Puzzle: Find the birds I am about to produce in 
it." 

On the other hand the original performer called 
too little attention to his denouement. When the 
birds were taken out, the cage, from the audience's 
point of view, was finished with. All eyes were on 
the paper bag and only when it was blown to pieces 
was their attention drawn to the cage once more. 
By that time the birds had already arrived, but the 
spectators had just missed the moment of the reap- 
pearance; in fact, the whole performance was akin 
to a pantomime trick, in which the clown jumps 
through a window and suddenly springs up through 



456 



OUR MAGIC 



a star trap on the other side of the stage. ''Here 
we are! Bang!! Gone! Here we are again. 
Ha! ha!" No more direction or misdirection of the 
mind of the audience was attempted either by words 
or action. 

Again, Mr. Chapender called just a little too 
much attention to the cage by having it hung up 
empty beforehand. He produced the doves during 
the performance and then, after causing them to 
vanish, pointed a pistol at the cage. The audience 
undoubtedly saw the magical appearance of the 
birds, but the cage was obviously there for that pur- 
pose, and the spectators probably concluded — espe- 
cially as no other reason was suggested — that they 
had witnessed a very clever trick — with a cage. 

We wished to avoid the weak points in the three 
examples we have quoted, and we were also desir- 
ous of bringing in an element of surprise and of 
using some new objects to lend an air of freshness 
to the experiment. We had noticed that straw hats 
had never been used in any magical feat of which 
we had ever heard. We decided to put the doves 
between a couple of straw hats and instead of mak- 
ing them vanish, to change them to something of 
about the same size and colour. We thought of 
many things and finally decided upon tame white 
rats. These fitted into our scheme or idea, which 
we entitled "The Point of View." 

The cage with two white doves or pigeons stood 
on a table in the centre of the stage, and the two 
straw hats lay on a tray on a table to the right of the 
performer. The conjurer, having accepted a white 



THE POINT OF VIEW 457 



handkerchief from an assistant, thus addressed the 
audience : — 

Ladies and Gentlemen: 

"My next experiment is called *The Point of 
View/ You know, your point of view is a very 
important part of your outlook, as it were; in fact, 
I believe that, in the near future, people will no 
longer ask each other how they are in health but 
will greet their friends with the question: ^How 
is your point of view?' 

"I have heard that Indian conjurers do not really 
present the marvels to which they lay claim; they 
simply alter the point of view of their audience. I 
will show you what I mean. (Walks up to cage.) 
Here, in this cage, are two white doves, and here is 
an ordinary white handkerchief. Now, will the 
audience oblige me by watching these birds for a 
second or two? (Twisting up handkerchief he holds 
it by opposite corners and twirls it in front of cage.) 
Now, I assure you, your point of view is altered. • 

"I have here two ordinary straw hats. (He goes 
to the footlights and shows the hats to be empty. He 
also bangs them together to show that they are or- 
dinary straw hats). 

"They are very old, but I believe in making use of 
everything; my father was Scotch. (He walks up 
to cage, hands one hat to assistant, takes doves and 
puts them into other hat) (i). I put these doves, 
one at a time, into his hat. This is Mr. Dove and 
this Mrs. Dove. No quarrelling, please. I cover 
them with the other hat — so (here takes other hat 



4S8 



OUR MAGIC 



from assistant and does so) (2). Now, I daresay 
every person in this theatre really thinks I have put 
two straw hats between two doves — I mean two 
doves between two hats. There is a lady down there 
who even imagines that she can hear the doves 
fluttering. Can you not, madam? (listening to 
fluttering himself) (3). I thought so. Well, I 
must tell you that although I put something between 
these hats they were not doves, but rats. (Takes off 
top hat, and puts on tray) (4). Real live rats 
(takes them out) (5). If there is any lady here 
who does not believe that they are real I shall be de- 
lighted to pass them for examination, tails and all. 
No? Very well. (Puts hat and rats on the tray, 
picks up handkerchief.) Now to restore your point 
of view. (To assistant.) Bring that cage. (Here 
he lifts it up (6) ; the performer waves the handker- 
chief in front, as before, and the doves appear). 
Watch! (Taking cage from assistant the performer 
shows all sides of it to the audience (7) and con- 
tinues). You see, the birds have never been taken 
out of the cage at all. They have been here all the 
time. It was simply your point of view, ladies and 
gentlemen, that was changed." 

TRICKS OR DEVICES. 

The two straw hats are provided with devices 
which can be seen in Fig. 61. The hat on the right 
of the picture is carefully fitted with a tin lining, 
or box, which can be pushed into it fairly easily. 
When in position it appears to be the lining of the 



THE POINT OF VIEW 459 



hat because the inside of the receptacle is covered 
with an exact duplicate of the real lining. 

Beside the other hat is seen a tin cover or lid 
which fits nicely into the mouth of the hat, and when 
this cover is in position the crown of the hat forms 
a sort of box with ample accommodation for a 
couple of doves or small pigeons. On the brim of 
the hat will be seen two small hooks which move 
laterally on two pins riveted through the straw, and 




Figure 6i, 



the points of these hooks go through holes made in 
the side of the crown. When it is necessary to 
fasten the lid to the mouth of the hat these hooks 
are pushed through the holes by the thumbs of the 
performer, and engage in two slots which are cut in 
the flange of the lid. 

In this picture (Fig. 62) it will be seen that the 
metal lining and cover also form a box and lid inde- 
pendently of the hats. There is a narrow rim on 
each. The one on the box has two lugs or tongues 
of metal turned or bent over on to the rim, one on 
each side. The flange on the lid is carried only half 



460 



OUR MAGIC 



way round the oval ; the ends of this half rim are at 
each side, and are chamfered ofif so that when the lid 
is slid on from one end, as in the picture, the ends of 
the top flange are pushed under the lugs on the under 
one, and wedge pretty firmly. 

Now this box, with a lid which can be taken ofif 
only by sliding from one end, is large enough to 
contain two large tame white rats. We will sup- 




FlGURE 62. 



pose that when the next picture was taken. Fig. 63, 
the two rats were in the box which is seen in the 
hat on the left of the picture. The performer in- 
tends to put this hat over the one on the right of the 
picture which we will suppose contains the doves. 
In Fig. 64 the performer has turned the hats over, 
so that the rats are now in the lower one and the 
doves in the upper, and we see him in the act of 
pushing home the hooks. When he wishes to com- 
plete the operation he simply has to slide one hat on 



THE POINT OF VIEW 



461 




Figure 64. 



462 OUR MAGIC 

the other, as in the next picture, Fig. 6_5. The lid 
is pushed off by the hat and, being fastened to it by 




Figure 65. 

the two hooks, is carried away with it, with the two 
doves inside, while the rats are disclosed in the other 
hat, and the apparent change is complete. 

The cage is 
seen in Fig. 66 
as it appears 
to the audience 
when ready for 
the illusion, ex- 
cept that there 
should be two 
doves inside it. 
The principal 
device is con- 
tained in the 
back panel. 

Figure 66. ^his device is 




THE POINT OF VIEW 463 



based on a principle invented by us in 1880; it has 
since been applied to many effects and illusions, 
from "The Artist's Dream" downwards. If a plain, 
flat, dark-coloured velvet curtain forms the back- 
ground of the stage or room, and a similar piece of 
material be hung up, or held, in front of it, and if 
the edges of the hanging panel are covered by some 
sort of frame, and if both panel and background are 
equally lighted, the frame will appear to be empty 
to the onlooker, providing it is placed at such a 
distance from the larger cloth and in such a position 
that an observer, placed in any part of the audito- 
rium, could not, even if the frame were empty, see 
anything through it except the back cloth. 

In the present case the back frame filling the space 
between the sides, the floor, and the triangular roof 
of the cage, is covered with velvet similar to the 
background, and over this are arranged dummy 
cross-pieces and wires, duplicating the real back 
of the cage which is hidden behind the illusive 
panel. 

A side view in Fig. 67 clearly shows the trick 
parts. The birds that are to be produced are held 
in the annex at the back, and when they enter the 
cage proper the panel, which is fastened to a strong 
spring hinge, falls very quickly, and lies flat on the 
floor of the cage. The back of the panel is similar 
to the bottom of the cage and completely covers it. 
At the sam.e time the wire chamber closes up and 
lies flat against the back of the cage; in fact, it 
actually forms part of it, as will be seen by looking 
at the next picture, Fig. 68, which gives a back view 




Figure 68. 



THE POINT OF VIEW 465 



of the device after the concealed birds have been 
produced. 

This is managed in the following way. About a 
dozen of the wires in the centre of the back are cut 
away from between the slats of wood that run round 
the cage. These are replaced by a number of wires 
fastened to two strips of clock spring which are in 
turn fastened at one end only behind the wooden 
bars. Normally this wire fence lies flat against the 
back of the cage, but it can be bent into a semi-circle 
and held back by two small loops which are formed 
in the fourth wire from the right hand side. This 
wire terminates at its base in a small loop project- 
ing at right angles, and it answers two purposes. It 
is arranged to slide up and down, and is allowed a 
movement of about a quarter of an inch. When it 
is pushed right up the two loops in it are brought 
level with the top and bottom of the wire fence, 
the free ends of which can be bent under them. 
Also, the top of the same wire goes through a hole 
in a small plate fixed on the top edge of the false 
back, and it is thus held in place. When the wire 
rod is pulled down both the panel and the wire 
fence are released and the latter is quickly pulled 
into the right position by two spiral springs, fixed 
at one end to the wires and screwed at the other end 
to the wooden frame. These springs can be clearly 
seen in the photographs. 

The semi-circular compartment requires a roof 
and a floor. These are provided by soldering grad- 
uated lengths of wire at right angles to two thin 
strips of metal which are made into light spring 



466 



OUR MAGIC 



hinges fastened on to the wooden cross-pieces. 
When the fence is bent into position two hooks 
formed at the end of the middle wire of each of 
these flaps are sprung over the top and bottom rails 
of the fence. On the collapse of the compartment 
the rails of the fence go inwards leaving the hooks, 
and the two flaps are pulled up and down respec- 
tively by the spring hinges, and as the short lengths 
of wire lie behind the wires of the cage they are 
not perceived. The lower flap is covered with cel- 
luloid to prevent the claws of the birds being caught 
in the Avires, and this is much more noticeable in the 
picture than it is on the platform. Being made of 
clear celluloid it is hardly perceptible at a short 
distance. 

We trust we have now made it quite clear how 
the birds are so suddenly produced in the seemingly 
empty cage. They themselves have no choice in the 
matter. If they do not tumble in when the flap 
drops they are propelled through the opening by 
the spring fence, and in either case there is the satis- 
faction of knowing that they cannot be hurt or in- 
jured in the process. 

PREPARATIONS. 

The cage is set by lifting up the false panel and 
while holding it against the back, pushing up the 
wire rod. The wire fence is bent back so that the 
free ends of the top and bottom rails may be inserted 
behind the stops on the same wire. The lower flap 
is hooked into position, and the two birds are placed 
in the compartment and secured by the top flap. 



THE POINT OF VIEW 467 



Two duplicate birds (small white pigeons are the 
most suitable kind to use) are put inside the cage, 
which is placed on a small thin topped table in the 
centre of the stage. The table is placed so far back 
that persons in the balcony can see nothing through 
the back of the cage except the back cloth, which 
must be of plain dark-coloured velvet hung to show 
a flat surface. 

Two rats are placed in the tin box, which is 
closed with the sliding lid. The ends of the box 
are marked, as also are the hats; this enables the 
performer to place both hats and box in the right 
positions for the movements which follow. 

A second table is required. This stands on the 
O. P. side, halfway between the centre table and 
the front edge of the platform. On this table is a 
tray with two hats upon it. 

The box with the rats is left in charge of the 
assistant who has to enter with it from the O. P. side. 
The performer has a large white handkerchief, 

INSTRUCTIONS. 

( I ) The assistant has just entered from the O. P. 
side, and is standing between the two tables with his 
right side to the audience and, unknown to them, 
he is holding the box of rats in his left hand against 
his coat with the box portion nearest his body and 
in such a way that no part of the box can be seen 
by the audience. He grasps it with the fingers 
spread over the lid part. When the conjurer hands 
him the hat (the one without hooks) he is standing 
on the conjurer's right and a little behind him. Di- 



468 



OUR MAGIC 



rectly he takes the hat, which he holds by the brim, 
crown outwards, he brings his two hands together 
and coolly pushes the box into it. He then turns 
face to the audience and holds the hat with both 
hands at right angles to his body, and crown upwards, 
grasping it by the brim with thumbs on top and 
fingers underneath. He takes the opportunity of 
pushing the box well up into the hat and waits, ready 
to hand it to the performer. The audience mean- 
while are occupied in watching the performer put- 
ting the doves into the other hat, but even if they 
were all looking at the assistant there is nothing sus- 
picious about his movements, if he remembers to 
move his hands slowly and himself watch the con- 
jurer. 

(2) Here the assistant hands it to him with his 
right hand, and the performer, who is holding the 
hat containing the doves in his left hand, also re- 
ceives it in his right hand, taking it by the brim, 
with thumb on top and two fingers well underneath, 
to support the box until it is safely resting on the 
second hat. 

(3) This is the excuse for turning both hats com- 
pletely over. This is done as they are raised to the 
ear. When they are lowered the brims are resting 
on the thumbs; they are allowed to do so entirely 
for a moment, while the fingers are slipped under- 
neath and the thumbs are again brought on top. 
The performer next pushes home the two hooks and 
then slides the top hat away from him until the lid 
is off the box. Both these actions are accomplished 
with the thumbs. The necessity for marking the 



THE POINT OF VIEW 469 



hats and the box and making each movement with 
them definite, and always the same, will be obvious. 

(4) Having now transferred the left hand from 
the sides of the hats to underneath the crown of the 
lower one the performer lifts off the upper one by 
grasping it by the crown, and laying it on the tray 
which is on the table on his right, and near which 
he ought to be standing. 

(5) The assistant crosses the stage behind the per- 
former, and in front of the cage, and stands near 
the cage. 

(6) The assistant lifts it up from the table, but 
does not bring it forward. To lift it without expos- 
ing the presence of the panel he takes hold of the 
back and front of the base of the cage, bringing his 
hands up to it from beneath. (Hence the necessity 
for a small table.) The thumb of his right hand is 
brought over the projecting loop. 

(7) A smart downward pressure of the assistant's 
thumb pulls the rod and releases the catches. The 
performer takes the cage by the top handle and ex- 
hibits it freely. 



CHAPTER XII 



WITH A CANARY AND A TARGET. ^^THE PHCENIX" 

A CANARY to be cremated and rise from its ashes in 
imitation of the mythical Phoenix. That was the 
idea of the plot, but how could the bird be burnt 
without suggesting roast canary and the callous 
cruelty of conjurers? 

We decided that the deed must be done quickly 
and in itself form a surprise, and our thoughts wan- 
dered to flash-paper. What could be more effective? 
The little yellow songster should be gently taken 
from its cage and carefully transferred to a tissue 
paper bag. The bag and its fluttering occupant 
should be hung up in an isolated position and then, 
at an unexpected moment, a sudden blinding flash 
of fire, and instant annihilation of both bird and 
paper. 

Having solved the first difficulty we boldly faced 
the next one. The reincarnation must quickly fol- 
low the destruction. Were it long delayed the audi- 
ence would have time to imagine things and tremble 
for the safety of the bird. Further, when it oc- 
curred, all doubts and fears must be allayed by the 
canary reappearing obviously unhurt and chirping 
merrily. 

Now it occurred to us that a sudden transforma- 
tion of the paper bag to another and totally differ- 

470 



"THE PHCENIX 



471 



ent object at the time of ignition would be quite 
surprising, especially if that object could be found 
to contain the bird with unruffled plumage. 

A cage naturally suggested itself as the most suit- 
able article for the bird to be discovered in. Any- 
way, we could think of nothing better, and so the 
next task was to invent a means of changing a sus- 
pended paper bag into a cage. 

Our attempts to solve this problem were many, 
and we will not weary the reader with a catalogue 
of our failures, although a record of such trial de- 
vices is well worth keeping for future reference. 
Very often some of the discarded ideas prove useful 
for a purpose quite different from that for which 
they were originally intended. 

The result of our experiments was the notion of 
shooting at the bag, which was hung up in front 
of the bull's-eye of a suspended target. This target 
transformed itself into a cage containing a bird at 
the same instant that the spontaneous combustion of 
the paper took place. The transformation was to' 
follow the successful shot made by a member of the 
audience, and, to introduce a little comedy, we de- 
cided to make use of another object which might 
be apparently hit by accident. A short time before, 
the late Mr. Frank Hiam had shown us a trick 
candle which would light or go out at will. This 
he hoped we would present in our performance and 
thus introduce it to the profession. Here was the 
opportunity. A member of the audience might be 
asked to fire at the target with an air gun loaded 
with mysterious pellets which would work wonders. 



472 



OUR MAGIC 



He fires and misses the target but seems to hit the 
lighted candle standing near it and out goes the 
light. We take the gun and with a second shot re- 
light the candle. Once more the spectator fires, and 
this time successfully. 

We then devised and constructed a target which 
would turn into a cage automatically, and at the 
same time set fire to the paper bag. We also in- 
vented a means by which the canary first shown 
could be vanished, and an understudy could take its 
place in the appearing cage. Then our Phoenix was 
hatched and ready to fly in the face of the British 
public. (Figures 69, 70, 71.) 

The next thing to do was to write the words, which 
were as follows : — 

^^My next experiment is called The Phoenix. I 
wasn't able to obtain a real Phoenix, so I bought this 
canary; it is a real canary. The first stage of the 
trick is to put the canary into this little paper bag. 
I assure you the bird is not, and cannot be, hurt 
during this experiment; in fact, it rather likes it. It 
doesn't hurt a canary to put it into a paper bag; it 
isn't like putting a paper bag into a canary. (Dur- 
ing this speech the bird is taken out of the cage and 
put into the bag) ( i ) . 

'T want to call your attention to that small target 
which is hanging quite away from anything else on 
the stage. I will hook this paper bag on to the top 
of the target here, so that the bird hangs just in 
front of the bull's-eye (2). 

"Now I want the assistance of a gentleman who 
is a good shootist. I mean a man who, when he 




Figure 69. 




Figure 70. 




Figure 71. 



476 



OUR MAGIC 



fires, always hits something. Perhaps there is a 
volunteer present, or a gentleman who has shot the 
moon. (The performer goes down to the audience 
and persuades someone to take the gun.) 

^'Now, sir, when I say 'three,' shoot at the bull's- 
eye. You shoot out of this end, where the little hole 
is. Aim at about right angles to the circumference. 
One! Mind that lady's ear; she wants it. Two! 
Three! (The candle on the stage goes out) (3). 
You've put my light out, sir; that's a scandalous 
shot. Allow me. (Performer shoots and candle 
lights again) (4). There, how would I do for a 
match? Have another shot, sir. Three shots for 
nothing; all the fun of the fair. One, two, three, 
fire! (The paper bag bursts into flames and the 
target becomes a bird cage, with the bird inside; 
the performer goes to the stage and unfastens it 
from the cords) (5). That's a capital shot, sir. It 
isn't every man that brings down the birds, let alone 
cages with them. Perhaps the ladies would like to 
satisfy themselves that the bird is unhurt. (Takes 
down cage and offers it to a lady to examine.) No, 
it won't tell you how it is done; this is not one of 
those little birds that tell things." 

TRICKS OR DEVICES. 

The small cage is an ordinary one, such as can 
be purchased at any bird shop, but some additions 
are necessary. There is a small board which fits 
within the roof of the cage and also forms a false 
bottom to it when required. In picture 72 it is 
seen halfway between the two positions. Projecting 




Figure 72. 



478 



OUR MAGIC 



from the front edge of the board a small metal ring 
will be observed. This is the handle by which the 
performer carries down the board when he wishes 
to move it. The ring is also the terminal of a strip 
of metal which passes right through the thickness of 
the board and emerges at the opposite edge, finish- 
ing in a point which fits into a hole at the back of 
the cage. When it is desired to fasten the board to 
the top the strip of metal, which is allowed to 
slide backwards and forwards, is pulled outwards. 
The board is placed in position and the strip is 
pushed inwards. The ring goes into the notch cut 
for it in the front, and the point passes through the 
hole at the back. There are two swinging perches 
— crossbars of wood hung on strings. One of these 
is pendant from the false top, and the other hangs 
from the actual roof. Space is allowed for the latter 
perch to lie between the board and the top. When 
the board rests at the bottom of the cage its ends rest 
on two slips of wood nailed inside the cage, at such 
a height that the canary has ample room. 

The carrdle is an imitation one made of metal. 
It is simply a piece of brass tube covered with glazed 
white paper and containing a small cylindrical lamp, 
with a wick of about the same size as a candle-wick. 
The top of the tube is closed with the exception of 
a small hole through which the wick can pass, and 
a few air holes are drilled in it. The latter are very 
necessary because, although the lamp rests on a 
spiral spring which forces it to remain at the upper 
end of the tube it can be drawn down into the tube 
when the light is required to disappear or, as the 



THE PHGENIX 



479 



audience imagine, go out. This is managed by at- 
taching a thread to the lower end of the lamp. This 
thread is passed right through the hollow candle- 
stick and a hole in the table down to a screw-eye in 
the floor, and thence to the hand of the ever-useful 
hidden assistant. 

Flash-paper can easily be obtained ready-made. 
It is paper dipped in a solution of nitric and sul- 
phuric acids; it is then passed through water and 
allowed to dry. Paper so prepared will, on igni- 
tion, practically disappear, like gun cotton, in a 
brilliant flash. 

The Target is practically a folding cage covered 
by a spring blind representing the face of a target. 
This is so constructed that it opens out automatically 
and instantaneously by pulling a thread. We pro- 
pose to describe the cage by a series of photographs 
which, at the same time, show how it is set for the 
illusion. We will therefore at once pass on to the 
necessary preparations, commencing with this piece 
of apparatus. We will first ask the reader to glance 
back at Figures 70, 71, which show the cage before 
and after the transformation, and also at Fig. 72, 
giving a back view of the device when ready for ex- 
hibition. 

PREPARATIONS. 

The target cage is held upside down, as in Fig. 
73, and the telescopic perch, which is hung from 
short lengths of brass wire, sliding one on the other, 
is shaken down into the roof. A stiff piece of wire 
fastened at right angles to one of the curved wires, 



480 



OUR MAGIC 



forms a special perch for the bird, which is now put 
into the domed top ; this part of the cage does not 
collapse in any way. 

Two short lengths of chain are attached to the 
handle of the cage by spring hooks. On the front 
of the wooden frame are seen a small plate with a 
hole in it, and two square-headed staples. These 




Figure 73. 

will be on the top edge of the target when it is pre- 
pared. In the next picture, Fig. 74, the operator 
is seen folding in the side of the cage. To do this 
he has to lift up a wire in the bottom panel, which 
is bent upwards to keep the side frame pressed 
against the metal stop. This stop can be seen at 
the edge of the bottom frame. The bent up wire 
offers no obstruction to the side panel falling into 




Figure 75. 



482 



OUR MAGIC 



place, but once it has passed the point of the wire 
the latter must be pulled out of the way before the 
panel can be folded back. 

The next picture, Fig. 75, shows the folding, in 
the same way, of the opposite side. Each of the 
panels is on spring hinges. 

The floor of the cage is now folded against the 
front, and both together are laid upon the sides. 




Figure 76. 



The tapes stretched from back to front are to sup- 
port the bottom when it falls. See Fig. 76. Fi- 
nally, in Fig. 77, the back of the cage, with the 
tapes lying against its frame, is being laid on the 
others. 

In Fig. 78 we see the spring blind being pulled 
out from its hiding place in the back of the upper 
frame. The wire rod upon which the end of the 



"THE PHCENIX' 



483 



blind is stitched, and which the operator is holding, 
has two small rings upon it, and when the rod is 




Figure 78. 



laid on the opposite edge of the frame and over the 
folded panels the two short lengths of chain are 



484 



OUR MAGIC 



brought up to meet it. Now a length of steel wire 
with a loop formed in one end of it is passed through 
both the rings on the blind, and also through a single 
link in each of the chains. 

In Fig. 79 the operator is seen passing a strip 
of clock spring — which has a slip of sand-paper 
cemented underneath it — over the head of a wax 
match and under the two square-headed staples. 
The head of the match has been pressed firmly into 




Figure 79. 



the little hole in the frame in Fig. 73. At one end of 
the strip of metal is an eyelet hole to which is attached 
a strong thin silk thread, and this thread is passed 
across the stage to an assistant at the side. A sec- 
ond piece of thread is fastened on to the steel wire 
and joined to the first with some ''slack" between, 
as seen in the picture. 

In the last photograph (Fig. 80) the preparation 
of the cage-target is seen quite complete, and the 
operator is ready to hook the links he is holding to 



"THE PHCENIX' 



48s 



the hooks on the hanging chain. These hooks are 
small enough to be mistaken for links a short distance 
away. 

When the assistant pulls the thread, the clock 
spring is drawn over the head of the match. This 
lights the flash-paper. The pull, being continued, 
draws out the steel wire and thus releases the blind, 
which flies back to its place. Simultaneously the 
links being freed allow the cage to drop over and 




Figure 80. 



hang from its proper handle. Finally, the back, 
front, bottom, and sides fall down into their places. 

The small cage is arranged with the false piece 
fastened up in the top, and a duplicate canary is 
placed within. 

The candle lamp is filled with cycle lamp oil, 
and the wick is carefully trimmed. 

INSTRUCTIONS, 
(i) Having rolled the piece of flash-paper into 
the shape of a cornucopia the performer holds it in 
the left hand. He then hooks the little finger of 



486 



OUR MAGIC 



the same hand into the wire ring on the top of the 
cage and turns the cage round so that the wooden 
back faces the audience. The ostensible reason for 
doing this is to open the door for the purpose of 
catching the bird. The conjurer does this with his 
right hand while the left hand is employed in re- 
leasing the false top. There must be no hesitation 
and no undue haste. The moment the cage is turned 
the left hand leaves the handle and takes hold of 
the projecting ring and, pulling it, gently lowers 
the square of wood, thus covering the bird. Si- 
multaneously the little door is thrown open and a 
pretence is made of catching the bird with the right 
hand. The left hand which, even to a keen observer, 
had apparently been lowered only for the purpose 
of steadying the cage while the catch was being un- 
done, now returns to the wire handle, and again 
twists the cage front to the audience, showing the 
right hand inside it. The hand is closed and ap- 
pears to contain the canary. It is immediately 
withdrawn and raised behind the cage to the mouth 
of the bag in the left hand. The fingers are inserted 
and lightly tap the inside of the bag and rustle the 
paper to imitate the movements of a fluttering bird. 
Now both hands are brought away from the appar- 
ently empty cage and the right hand finishes the de- 
ception by withdrawing from the bag very quickly 
and closing the bag with a twist. 

The performer stands at the left side of the table 
—which is on the prompt side of the stage. Thus 
his body masks the operation. of lowering the false 
top from that side, and when he turns the cage round 



THE PHCENIX" 



487 



he must twist it a little to his left so that the other 
end is also safe. 

(2) The end of the bag is tucked under the steel 
wire and close to the match. The assistant now 
hands the performer the gun and takes away the 
empty cage. 

(3) On hearing the report the assistant pulls the 
line attached to the lamp and draws it quickly into 
the tube forming the dummy candle and holds it 
there. 

(4) He releases the line slowly; too sudden a 
jerk would probably put out the light. 

(5) At the next and third shot he pulls the line 
which lights the match and releases the blind and 
allows the cage to open. 



THE END 



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